Previously: Chicago's ROOK
Concert was performed May 4th, 2014 4:00 PM at the Landmarks Center, 1201 North Central Avenue, Indianapolis
"This is a repertoire that is either misrepresented or ignored in general, so Rook's attention to it helps protect whatever spiritual monarch rules over old music interpreted in today's terms, but with conscientious respect for the originals. If chess imagery doesn't work for you, let's just say Rook is indeed something to crow about." - Jay Harvey Upstage (Indianapolis) Review
Rook is a mixed instrumental ensemble dedicated to the music of the 16th and 17th Centuries. Rook explores this music with a surprising combination of brass and string instruments that, while popular 400 years ago, creates colors that are missing from modern music making.
The core of the ensemble is comprised of accomplished musicians from Chicago’s new generation of period style performers and collaborates regularly with vocalists and other instrumentalists to present this exciting music to modern audiences. In addition to performing at universities and other venues all over the Chicagoland area Rook has presented concerts at Oberlin Conservatory’s Historical Performance Department Recital, the Madison Early Music Fringe Festival and a series of concerts with early music pioneer David Douglass.
In March 2012, Rook was selected as one of three ensembles to participate in the Carnegie Hall Professional Training Workshop to work with L’Arpeggiata.
Mark Shuldiner historical keyboards, is a graduate of Oberlin Conservatory's Historical Performance program, where he studied harpsichord with Webb Wiggins. Mr. Shuldiner has also enjoyed additional instruction from such keyboard luminaries as Emanuel Ax and Davitt Moroney. Recent projects have included playing harpsichord, celeste, and organ for staged productions of A Midsummer Night's Dream by Benjamin Britten as well as a production of Monteverdi's L'incoronazione di Poppea under the direction of Stephen Stubbs. Mark led a performance of Charpentier’s Les Arts Florissants to great acclaim on a fringe concert at the 2009 Boston Early Music Festival. A rising star of the Chicago early music scene, Mark has performed with Chicago-based ensembles such as The Newberry Consort, Music of the Baroque, the Grant Park Symphony Orchestra, Baroque Band, the B.B.E., and Rook. While maintaining a rigorous performing schedule, Mark also runs his own harpsichord repair and rental workshop and has provided tuning and maintenance solutions to many notable clients including The Lyric Opera of Chicago, Music of the Baroque, and Chicago Opera Theater.
Paul Von Hoff is a trombonist who performs extensively on both historic and modern trombones. Paul is a founding member of the Rook early music ensemble, which focuses on the music of the Renaissance and Early Baroque especially the rarely performed music of the early 17th century. He is also a founding member of the Gaudete Brass Quintet, a modern brass quintet founded in 2004 that has toured extensively, given masterclasses at schools such as Juilliard and Eastman, recorded three albums (one for Cedille records) and has commissioned and premiered over twenty new works. Paul also is the trombone instructor at Carthage College in Kenosha, Wisconsin. Paul holds a Bachelors degree cum laude from the Northwestern University School of Music and a Masters Degree from the Chicago College of Performing Arts and has studied historic trombone with Greg Ingles, as well as modern trombone with Frank Crisafulli, Lawrence Borden, and Jay Friedman.
Jakob Hansen, a native of Chicago, earned his bachelor’s degree in violin performance from Northern Illinois University. His principal teachers include Mark Zinger and Mathias Tacke. While at NIU, Jakob was awarded a grant to pursue study in medieval music and string instrument technique at the Newberry Library with Musician-in-Residence David Douglass, and now continues his study of Renaissance and baroque violin and viola with Mr. Douglass. Pursuing a career as a specialist in early music, he performs with many area ensembles including The Newberry Consort, Northwestern University’s Dunbar Festival Orchestra, Madison Bach Musicians, and the Bach and Beethoven Ensemble. In June, 2011, he was selected for EMA's Young Performer's Festival, and performed a program of early 17th century repertoire under the direction of Scott Metcalfe as part of the Boston Early Music Festival.
Jeremy David Ward is a cellist whose musical inspiration and repertoire spans from Renaissance dance music to the post-tonal works of Saariaho and Dutilleux. As a performer of early bass instruments, he has been featured on concerts for Newberry Consort, Ars Musica, the Dunbar Early Music Festival, and the Chicago Early Music Festival. His contemporary music collaborations have included performances with Chicago new music groups eighth blackbird and dal niente as well as Chicago Opera Vanguard and members of the Pacifica Quartet. His orchestral experience has led him to work with David Zinman, Robert Spano, and Alan Heatherington, and as a member of the ensemble Oberlin 21, he recorded works of Debussy and Takamitsu with harpist Yolanda Kondonassis on the Telarc label. Jeremy is a graduate of the Oberlin Conservatory of Music and the Bienen School of Music at Northwestern University. His teachers have included Amir Eldan, Peter Rejto and Hans Jorgen Jensen. In addition to Rook, Jeremy is a member of the Newberry Consort Violin Band.
Previously: San Francisco's MUSICA PACIFICA
This concert was held Friday, June 20th 2014
“Dancing in the Isles”
Musica Pacifica has, since its founding in 1990, become widely recognized as one of America’s premier baroque ensembles, lauded for both the dazzling virtuosity and the warm expressiveness of its performances. They have been described by the press as "some of the finest baroque musicians in America" (American Record Guide) and "among the best in the world" (Alte Musik Aktuell). At home in the San Francisco Bay area, the artists perform with Philharmonia Baroque and American Bach Soloists, and appear with many other prominent early music ensembles nationally and abroad.
They have performed on some of the most prestigious concert series in the U.S., including Music Before 1800 and the Frick Collection (NY), the Getty Museum (Los Angeles), the Cleveland Art Museum, the Pittsburgh Renaissance and Baroque Society, the Seattle Early Music Guild, the Houston Early Music Society, and the Los Angeles County Museum, among many others. The ensemble has been featured at the Berkeley Early Music Festival three times, and their first appearance there was cited in Early Music (UK) as "perhaps the standout of the entire festival." They have performed at festivals in Germany and Austria and have been heard on German National radio as well as on National Public Radio’s "Performance Today" and "Harmonia" and on Minnesota Public Radio.
Musica Pacifica's eight CD releases on the Virgin Classics, Dorian and Solimar labels have won national and international awards, including the highest ratings in several CD magazines and being chosen as "CD of the Month" by the early music journal Alte Musik Aktuell (Regensburg). The prestigious Gramophone Magazine (UK), called Dancing in the Isles “one of the zestiest recordings of recent vintage.” Fire Beneath My Fingers, was touted as “one of the most exciting Baroque recordings I’ve heard” on Audiophile Audition. Their Telemann CD won Chamber Music America and WQXR's 2003 Record Award honoring the best chamber music recordings of the year, and their Mancini recording was cited as a "Noteworthy Disc" in the 2000 International Antonio Vivaldi Awards for Italian Early Music in Venice.
Online, Musica Pacifica may be heard on radio station 1.fm, Last.fm, Celtic Radio, and Recorder-radio.com; and seen at youtube.com/MusicaPacificaSF.
JUDITH LINSENBERG, recorder, is one of the leading exponents of the recorder in the US and has been acclaimed for her "virtuosity," "expressivity," and "fearless playing." She has performed extensively throughout the United States and Europe, including solo appearances at the Hollywood Bowl, Lincoln Center, and the Montreal Recorder Festival; and has been featured with such leading American ensembles as the San Francisco Symphony, the San Francisco and Los Angeles Operas, the Oregon Symphony, LA Chamber Orchestra, Philharmonia Baroque, American Bach Soloists, the Portland and Seattle Baroque Orchestras, the Oregon and Carmel, Bach Festivals, Musica Angelica of Los Angeles, and others. She is the winner of national performance awards, and has premiered several new works for the recorder. Linsenberg has recorded for Virgin Classics, Dorian, Solimar, harmonia mundi usa, Koch International, Reference Recordings, Musical Heritage Society, Drag City Records (with Joanna Newsom), and Hännsler Classics. A Fulbright scholar to Austria, she was awarded the Soloist Diploma with Highest Honors from the Vienna Academy of Music. She is a summa cum laude graduate of Princeton University, holds a doctorate in early music from Stanford University, and has been a visiting professor at the Vienna Conservatory and Indiana University’s Early Music Institute in Bloomington.
Charles Sherman, harpsichord, is recognized as one of the leading harpsichord soloists and continuo players in the country and has been called a "fluent virtuoso" by the Los Angeles Times. Since 1997, he has been a member of Philharmonia Baroque Orchestra and Musica Pacifica. Previously, as a member of the Aulos Ensemble (NY) for many years, he toured regularly throughout North America and overseas and recorded extensively. He has also performed with such acclaimed ensembles as the Philadelphia Orchestra, American Baroque (SF), Musica Angelica (LA), Handel & Haydn Society and Emmanuel Music (Boston), St. Luke's Chamber Ensemble and Concert Royal (NY), and at well-known music festivals, including Marlboro, Saratoga, the New England Bach Festival, the Boston and Berkeley Early Music Festivals, and Aston Magna. Mr. Sherman holds degrees in History and Musicology from The University of Chicago and in Harpsichord Performance from the Juilliard School, where he studied with Albert Fuller. He is one of today's leading exponents of the art of basso continuo realization and frequently teaches master classes on Baroque accompaniment. His recordings appear on the Dorian, Musical Heritage Society, Koch International, Reference Recordings, and BMG labels.
David Morris is a member of The King’s Noyse, the Galax Quartet, Quicksilver and NYS Baroque. He has performed with the Boston Early Music Festival Orchestra, Tragicomedia, Tafelmusik, the Boston Symphony Orchestra, Philharmonia Baroque Orchestra, Musica Pacifica, American Bach Soloists, Musica Angelica, Seattle Baroque Orchestra, the Mark Morris Dance Company, and Seattle’s Pacific Musicworks. He was the founder and musical director of the Bay Area baroque opera ensemble Teatro Bacchino, and has produced operas for the Berkeley Early Music Festival and the San Francisco Early Music Society series.David received his B.A. and M.A. in Music from U.C. Berkeley, and has been a guest instructor in early music performance-practice at UC Berkeley, UC Santa Cruz, the San Francisco Conservatory of Music, Mills College, Oberlin College, the Madison Early Music Festival and Cornell University. He has recorded for Harmonia Mundi, New Albion, Dorian, New World Records, Drag City Records (with Joanna Newsom) and New Line Cinema.
DANNY MALLON (percussion) holds Bachelor and Master of Music degrees in classical orchestral percussion from the Mannes College of Music in NYC, where he has been a faculty member since 1991. He has been chosen three years in a row as a musical ambassador for the Dept. of State to tour South East Asia, in the Middle East and this year Malaysia and Borneo. In addition to three recordings with Chatham Baroque on the Dorian label, he can also be heard on Pifaro’s Dorian recording. He has recently recorded with the Baltimore Consort, Brio and on Ron McFarlane’s solo recording on the new Dorian, Sona Luminus label. As well as recording spots for TV, radio and film, he has performed with Jordi Saval’s period orchestra, “Le Concert Des Nations,”; The Baltimore Consort; Ensemble Galilie; Rebel; Apollo’s Fire; Trinity Wall Street Choir; The NY Collegium; Artek; AmorArtis Chorus and Baroque Orchestra; The Rose Ensemble and with Paula Robison and Ken Cooper. His festival appearances include Spoletto; the Berkeley Early Music Festival; the Madison Early Music Festival; the east Coast Baroque Dance workshop; the International Festival of Latin American Renaissance and Baroque Music in Bolivia and the Festival of Baroque Music in San Louis Potosi, Mexico.
Violinist ALLISON GUEST EDBERG will join Quicksilver for its Indianapolis Early Music concert. Noted for the beauty of her playing as well as for her versatility, she is one of the preeminent performers of baroque and modern violin. She has been praised by The Chicago Sun Times as “impeccable, with unerring intonation and an austere beauty”. Equally at home as an orchestral and chamber musician, she also performs regularly as a violist.
Ms. Edberg has performed throughout North America, collaborating with many of the top baroque ensembles, including Chatham Baroque, Ensemble Galilei, Apollo's Fire, the Foundling Baroque Orchestra, the Washington Bach Consort, La Monica, and The Vivaldi Project. She is frequently featured at the Bloomington Early Music Festival and the Indianapolis Early Music Festival. Her discography includes recordings for the Eclectra, Delos, and Centaur CD labels.
Highly regarded as a teacher, Ms. Edberg has served on the faculties of Indiana State University, DePauw University, Ohio State, the Interlochen Arts Camp and Lawrence University. She is currently the concertmaster of the Indianapolis Baroque Orchestra a member of Ensemble Voltaire and Olde Friends, and Education Director for the Lafayette Symphony Orchestra.
Ms. Edberg studied with Stanley Ritchie at the Indiana University Early Music Institute where she was the recipient of the Willi Apel Scholarship in baroque violin. She received a Master of Music degree from the University of Michigan where she studied with Camilla Wicks. Her Bachelor’s degree is from the Peabody Institute with Daniel Heifetz.
This concert was held Sunday, June 22 2014.
“Stile Moderno” - New Music from the 17th Century
Led by violinists Robert Mealy and Julie Andrijeski, Quicksilver brings together leading historically-informed performers in America today.
Described as “drop dead gorgeous with a wonderful interplay of timbres,” (Early Music America) and praised for “impeccable, soulful playing” (New York Times), Quicksilver vibrantly explores the rich chamber music repertoire of the early modern period, from the strange and extravagant trio sonatas of the Italian and German seventeenth century to the spectacular chamber music of the High Baroque.
Featured at early music series throughout North America, Quicksilver has garnered accolades in the press from coast to coast. The ensemble’s debut recording, “Stile Moderno: new music from the seventeenth century” has been lauded as “technically expert, flexible in phrasing, and stylish in ornamentation, fully aware of this music’s rich sense of theatre” (Fanfare Magazine) and “Breakthrough Album of the Year” (Huffington Post). Quicksilver’s upcoming recording, “Fantasticus,” is expected to be released in spring 2014.
Quicksilver’s players and instrumentation:
Robert Mealy and Julie Andrijeski, violins and directors
Greg Ingles, trombone
David Morris, viola da gamba/cello
Dominic Teresi, dulcian
Avi Stein, harpsichord/organ
Charles Weaver, theorbo and baroque guitar
One of America’s leading baroque violinists, ROBERT MEALY has been praised for his “imagination, taste, subtlety, and daring” by the Boston Globe; the New Yorker called him “New York’s world-class early music violinist.” He has recorded over 50 CDs of early music on most major labels, ranging from Hildegard of Bingen with Sequentia, to Renaissance consorts with the Boston Camerata, to Rameau operas with Les Arts Florissants. At home in New York, he is a frequent leader and soloist with many ensembles, and serves as concertmaster at Trinity Wall Street in their series of complete Bach cantatas and passions.
Mr. Mealy began exploring early music in high school, first with the Collegium of UC Berkeley and then at the Royal College of Music in London, where he studied harpsichord and baroque violin. While still an undergraduate at Harvard College, he was asked to join the distinguished Canadian baroque orchestra Tafelmusik. Since then, he has recorded and toured with many early music ensembles both here and in Europe, including (from early to late) Sequentia, Ensemble Project Ars Nova, the Newberry Consort, the Folger Consort, Tragicomedia, Les Arts Florissants, La Fontegara (Mexico), the Studio de musique ancienne de Montréal, Seattle Baroque, Boston Baroque, and the Handel and Haydn Society. He has led Baroque ensembles for the Mark Morris Dance Company, including a tour to Moscow, and accompanied Renée Fleming on the David Letterman Show.
Mr. Mealy has been concertmaster of the internationally-acclaimed Boston Early Music Festival Orchestra since 2004, and has led them in performances and Grammy-nominated recordings of Lully’s Thésée and Psyché and Conradi’s Ariadne, as well as productions of Monteverdi’s Poppea and the modern premiere of Mattheson’s Boris Godenouw. The Boston Phoenix remarked of the Boris production that “the most exceptional music came from the pit. Concertmaster Robert Mealy played more music than anyone onstage or off, every measure of it with erudition and compelling energy.” With the smaller BEMF Chamber Ensemble, he has led many productions of chamber operas, and made critically-acclaimed recordings of Charpentier’s Actéon and Blow’s Venus and Adonis. In 2009, he led the BEMF orchestra in a special festival appearance at Versailles.
He regularly appears at international music festivals from Berkeley to Belgrade, and from Melbourne to Utrecht. A devoted chamber musician, he directs the seventeenth-century ensemble Quicksilver, whose debut recording, Stile Moderno, was hailed as “breakthrough recording of the year” by the Huffington Post.
He is also a member of the Renaissance violin band The King’s Noyse, which has made eleven recordings for harmonia mundi usa. He served for over a decade as an instrumental soloist and leader with the Boston Camerata, recording a wide range of repertoire, from the Medieval Carmina Burana to Jean Gilles’ Requiem and American shape-note music, and even the rarely-heard Kurt Weill musical Johnny Johnson. Through his interest in earlier repertories, he co-founded the medieval ensemble Fortune’s Wheel, which has appeared at early music festivals throughout the Americas, and at the Cloisters and the Frick Museum here in New York.
A keen scholar as well as a performer, Mr. Mealy has been on the faculty of the distinguished Historical Performance graduate program at The Juilliard School since its inception, and became Director of the program in July 2012. In 2009 he was appointed Professor (Adjunct) at Yale University, and directed the Yale Collegium from 2006-2013. In 2004, he received EMA’s Binkley Award for outstanding teaching and scholarship. He has recorded over eighty CDs on most major labels.
Lauded for her “invigorating verve and imagination” by the Washington Post, JULIE ANDRIJESKI is among the leading baroque violinists and early music pedagogues in the U.S. In addition to many solo opportunities with various groups, she holds principal positions with diverse Baroque and Renaissance ensembles including Cleveland’s Apollo’s Fire, New York State Baroque (Concertmaster), the Atlanta Baroque Orchestra (Artistic Director), Cecilia’s Circle, and the King’s Noyse. Ms. Andrijeski’s unique playing style is greatly influenced by her knowledge and skilled performance of early dance. As a full-time Lecturer at Case Western Reserve University, Ms. Andrijeski directs the CWRU/CIM Baroque Orchestra, Baroque Chamber Ensembles, and Baroque Dance Ensemble throughout the school year. During the summer she teaches both violin and dance at summer festivals in Oberlin, Ohio (BPI), Madison, Wisconsin (MEMF), and Vancouver, British Columbia (VEMF).
DAVID MORRIS is a member of The King’s Noyse, the Galax Quartet, the Sex Chordae Consort of Viols, Parlor Tango and NYS Baroque. He has performed with The Boston Early Music Festival Orchestra, Tragicomedia, Tafelmusik, Philharmonia Baroque Orchestra, American Bach Soloists, Musica Angelica, Seattle Baroque Orchestra, the Mark Morris Dance Company, and Pacific Opera Works in Seattle. He was the founder and musical director of the Bay Area baroque opera ensemble Teatro Bacchino, and has produced operas for the Berkeley Early Music Festival and the San Francisco Early Music Society series. Mr. Morris received his B.A. and M.A. in Music from U.C. Berkeley, and has been a guest instructor in early music performance-practice at UC Berkeley, UC Santa Cruz, the San Francisco Conservatory of Music, Mills College, Oberlin College, the Madison Early Music Festival and Cornell University. He has recorded for Harmonia Mundi, New Albion, Dorian, New World Records, Drag City Records (with Joanna Newsom) and New Line Cinema.
CHARLES WEAVER has performed on early stringed instruments with Early Music New York, Hesperus, Piffaro, Parthenia, the Folger Consort, ARTEK, Musica Pacifica, the Clarion Society, Chamber Music Society of Lincoln Center, and Mercury Baroque. He teaches continuo playing and seventeenth-century style for the New York Continuo Collective, and has taught at the Western Wind choral workshop and the Amherst Early Music Festival. He has accompanied early operas with Juilliard Opera, the University of Maryland, Peabody Conservatory, the Wooster Group, and at Yale University. He is also Organist and Choirmaster of the Church of the Holy Innocents in Manhattan, specializing in Gregorian chant and Renaissance polyphony.
AVI STEIN teaches vocal repertoire at the Yale Institute of Sacred Music, continuo accompaniment at the Juilliard School, harpsichord at the Longy School and is the music director at St. Matthew & St. Timothy Episcopal Church in Manhattan. The New York Times described him as “a brilliant organ soloist” in his Carnegie Hall debut and he was recently featured in Early Music America magazine in an article on the new generation of leaders in the field. Avi has performed throughout the United States, in Europe, Canada and Central America. He is an active continuo accompanist who plays regularly with the Boston Early Music Festival, the Trinity Church Wall Street Choir and Baroque Orchestra, the Clarion Music Society and Bach Vespers NYC. Avi directed the young artists’ program at the Carmel Bach Festival and has conducted a variety of ensembles including the Opera Français de New York, OperaOmnia, and the Amherst Festival Opera. He serves as director of the 4×4 Festival in New York City. Avi studied at Indiana University, the Eastman School of Music, the University of Southern California and was a Fulbright scholar in Toulouse.
Previously: Montreal's PALLADE MUSICA
Basile Theater at the Glick Indiana History Center
450 West Ohio Street Indianapolis
Friday, June 27th 2014, 7:30 PM
Pallade Musica brings together four of Montreal's most promising Early Music performers. Grand Prize winners at the Early Music America Baroque Performance Competition in New York, October 2012, the quartet consists of Tanya LaPerrière, Baroque violon, Elinor Frey, Baroque cello, Esteban La Rotta, theorbo, and Mylène Bélanger, harpsichord. Based on dedicated research and continuous exploration, Pallade Musica’s performances are acclaimed for their expressive and elegant interpretations, earning praise for their “spectacular virtuosity” (Tom Strini Blog) and “tremendous ensemble sense” (Milwaukee Journal Sentinel).
The ensemble has performed throughout Canada including at the Ottawa Chamber Music Festival, Festival Montréal Baroque, Festival Alexandria, Toronto Music Garden, Early Music Vancouver, Early Music Society of the Islands (Victoria), and in the United States at Early Music Now (Milwaukee), the Chicago Cultural Center, and will soon perform at Renaissance and Barouqe (Pittsburgh), Early Music Societies of Seattle, San Francisco, San Diego, and Arizona, at the Connecticut and Indianapolis Early Music Festivals, and in Bogotà, Colombia. The members of Pallade Musica regularly appear with leading early music ensembles all over the world, while also pursuing careers as soloists and teachers. Pallade Musica recorded “Verso Venezia,” its first CD on the ATMA label. The CD features music of Castello, Legrenzi, and Merula was released in April 2014.
Fascinated with the cello’s origins and the creative process of new music, ELINOR FREY plays both period and modern instruments. Elinor’s honors include a US-Italy Fulbright Fellowship where she studied baroque cello with Paolo Beschi, the SSHRC Canada Graduate Scholarship, and Canada Council for the Arts grants facilitating her work on Italian baroque and modern unaccompanied cello music. In recent seasons she has performed with Ensemble Caprice, Tafelmusik, Les Idées hereuses, and Bradamante, among others. Elinor's debut album, Dialoghi, is titled for the solo piece written for her by Steven Stucky and her new CD, La voce del violoncello, was released Summer 2013 on the Belgian label Passacaille, praised for its “careful scholarship and brilliant layering of moods and tempos” (Toronto Star). Her performance of the CD’s program with Esteban La Rotta was the winner of the public prize at the 2013 Utrecht Early Music Festival Fringe. Elinor holds degrees from McGill, Mannes, and Juilliard.
Esteban La Rotta is one of Canada’s leading lutenists. In demand as both a soloist and continuo player, he studied at the Civica Scuola di Musica di Milano under the guidance of lutenist Paul Beier, and in Montreal with Sylvain Bergeron where he received his doctorate in performance degree in 2008 concentrating on the baroque guitar. Since 2012, thanks to support from the Canada Council for the Arts, he has studied at the Schola Cantorum Basiliensis focusing on the repertoire of the late Middle Ages for solo lute under the guidance of Crawford Young. As a specialist in a variety of early plucked instruments, La Rotta has extensive experience with renaissance repertoire as well as with the early Baroque Italian and French repertoire for solo theorbo. He is a regular participant at Festival Montréal Baroque and has performed with ensembles such as the Copenhagen Soloists, Ensemble Gilles Binchois, Les Violons du Roy, Les Voix Humaines, La Nef, the SMAM, and Ensemble Caprice. He has appeared in numerous festivals including Musique Royale, Boston Early Music Festival, Seattle Early Music Guild, Tage Alter Musik (Regensburg), Lamèque Early Music Festival, Stratford Festival, the National Arts Center in Ottawa, and the Orford Music Festival. His performances have been broadcast on the CBC in Canada and the BBC in England. He can be heard on the Atma label, both as a soloist and with Pallade Musica, and on the Passacaille label with the cellist Elinor Frey.
Mylène Bélanger obtained le Prix avec grande distinction à l’unanimité at the Conservatoire de musique de Rimouski (2001) and a Masters in Performance from the Université de Montréal (2003) and began learning harpsichord at an early age in Rimouski, Quebec. She has been heard on Radio-Canada's Jeunes Artistes and with numerous chamber ensembles in Quebec, including les Violons du Roy. Since 1996, her honours include awards from the Wilfrid Pelletier Foundation, the Giorgio Cini Foundation (Italy), the Foundation Beaulieu-Langis and the Université de Montréal. Her studies led her to Europe, at the ESMuC (Barcelona) in 2006-2007, and at the Royal Conservatory of Brussels, studying with Frédérick Haas in fall 2011. A versatile artist, Mylène is dedicated to interpretation of both the harpsichord and the organ, and to coaching and teaching. She is currently finishing a doctorate in harpsichord performance at the Université de Montréal with a scholarship from FQRSC.
Graduate of McGill University as a student of Chantal Remillard, Tanya LaPerrière is a promising young Baroque violinist whose powerful and sensitive playing make her a much-appreciated violinist among her audiences. One can hear her on stages throughout Montreal and abroad with well-known ensembles such as Arion, Ensemble Caprice and Les Boréades de Montréal. She also performs regularly with Les Idées Heureuses and la Bande Montréal Baroque. She has recorded on Analekta and Atma labels including two Juno-award for Ensemble Caprice et Arion. Baroque music, she will say, is nothing less than a confession or rather it speaks about matters in which it is everything! Tanya LaPerrière is currently pursuing a masters in performance at the Conservatoire Royal de Bruxelles studying with of Mira Glodeanu.
Program - Terreno e vago
Sonate concertate in stil moderno, Libro II (Venice, 1629): Sonata settima a 2. Sopran e fagotto overo viola
Dario CASTELLO (1590-1658)
Intavolatura di liuto, e di chitarrone, Libro I (1623): Toccata quarta
Alessandro PICCININI (1566-1638)
Selva de Varij Passaggi (1620): Divisions on “Vestiva i colli”
Francesco ROGNONI (d. 1626)
Canzone e concerti (1627): Concerto terzo
Adam JARZEBSKI (1590-1642)
Sonate a tre, op. 2, no. 10 in A minor (1704): Grave - Allemanda. Andante - Adagio - Presto
Nicola Francesco HAYM (1678-1729)
Sonata in d minor, K. 141
Domenico SCARLATTI (1685-1757)
Sonata ottava a 2. Sopran e fagotto overo viola
Dario CASTELLO (1590-1658)
Sonata op. 2, no. 4, “La Foscari”
Giovanni LEGRENZI (1626-1690)
Concerti ecclesiastici (Milan, 1610): Sonata for violin and violone
Giovanni Paolo CIMA (1570-1630)
Sonate a 2, 3, 4, e 5 stromenti da arco & altri (1682): Sonata Terza in d minor a due
Johann ROSENMÜLLER (1619-1684)
Sonata à violoncello solo
Angelo Maria FIORÈ (1660-1723)
Il quarto libro delle canzoni da suonare, a 2–3 (Venice, 1651): Canzon decima prima “La Miradoro”
Tarquinio MERULA (1595-1665)
Tonight’s program takes inspiration from two Italian words that can be used to characterize emotional effects found in Italian Baroque music, terreno and vago. Terreno represents the earth, that which is profane, secular, regular, and defined. The contrasting vago is music of reflection: it is irregular, spiritual, sacred, elusive, and vague. The program explores these binaries through seventeenth-century Italian repertoire for the violin, cello, and basso continuo, especially sonatas with three interdependent parts.
Such interweaving of treble and bass lines is immediately apparent in the 1629 sonatas by Dario Castello. The Italians relished adventurous nuance, extreme dynamics, and the chance to demonstrate skillful playing. These qualities are evidenced by Castello’s dazzling sonatas in stile moderno, a style emanating from Italy that utilized expressive harmonies and theatrical effects, often linked to a specific instrument.
Francesco Rognoni and Giovanni Cima were each members of influential families of Milanese musicians. Rognoni’s divisons on Palestrina’s madrigal “Vestiva i colli” is an excerpt from his instructional book on singing and instrumental playing, Selva de varii passaggi. The violin part is in the "alla bastarda" style, weaving together and ornamenting all the voices of the madrigal to create an astonishingly beautiful contour. Our version uses Palestrina’s original composition in the bass instruments.
The Polish composer and violinist Adam Jarzębski also wrote transcriptions of vocal works in his Canzoni e concerti. His use of passagework and dramatic contrast, present in tonight’s Concerto Terzo, reveals the influence of his travels to Italy in 1615.
Two other string players writing for their own instrument were Nicola Francesco Haym and Angelo Maria Fioré, important figures in the development of the violoncello in Rome and Torino, respectively. Haym was also among the very first Italians to travel and perform in London. His talent as a librettist caught the attention of Handel who collaborated with Haym on many operas. Fioré's son, Andrea Stefano, is better known today (he was maestro of the Savoy chapel in Turin for many years), but the works of the elder Fioré have an important place in the story of the early cello.
Giovanni Legrenzi became Maestro at San Marco and one of the most prominent composers working in the Veneto. Many of his instrumental works were named after families in the region. The sonata “La Foscari” caught our attention as it bears the same family name as a remarkable villa near Vicenza designed the celebrated architect Andrea Palladio.
The Neapolitan composer Domenico Scarlatti emigrated to Portugal, and then to Spain. Scarlatti is primarily known for his harpsichords sonatas (about 555) which explored all the possibilities of virtuosity on the harpsichord. K.141 uses repeating notes and the crossing of hands.
Johann Rosenmüller escaped jail in his native Germany and fled to Venice where he was employed at San Marco and became known as a very important composer of instrumental music. In the Sonata terza here, Rosenmüler beautifully explores the colors of string instruments.
Tarquinio Merula’s canzoni from 1651 (op. 17) are featured on Pallade Musica’s new CD. Merula was not a resident of Venice––he was maestro in Cremona, at the time a part of the Veneto––but it is clear that he felt the influence of Venetian styles and musical commerce. In these canzoni he is able to paint for us brief but vivid scenes, each one feels surprisingly fresh and current.
© Elinor Frey, 2014
Previously: BALTIMORE CONSORT
Basile Theater at the Glick Indiana History Center
450 West Ohio Street Indianapolis
Sunday, June 29th 2014, 4:00 PM
Founded in 1980 to perform the instrumental music of Shakespeare’s time, the Baltimore Consort has explored early English, Scottish, and French popular music, focusing on the relationship between folk and art song and dance. Their interest in early music of English/Scottish heritage has also led them to delve into the rich trove of traditional music preserved in North America. Recently, they have developed a program of music from Renaissance Spain. Recordings on the Dorian label have earned them recognition as Top Classical-Crossover Artist of the Year (Billboard). Besides touring in the U.S. and abroad, they have often performed on such syndicated radio broadcasts as St. Paul Sunday, Performance Today, Harmonia and the CBC’s OnStage. They have also enjoyed many teaching residencies at K-12 schools, as well as at the Madison Early Music Festival and other university engagements. The musicians of the Baltimore Consort bring diverse musical backgrounds together to produce a unique sound.
MARK CUDEK is Director of the Early Music program at the Peabody Conservatory, and also Artistic Director of the Indianapolis Early Music Festival. In recognition of his work as Founder/Director of the Peabody Renaissance Ensemble and also the High School Early Music Program at the Interlochen Arts Camp, Mark received from Early Music America the 2001 Thomas Binkley Award and the 2005 Award for Outstanding Contribution to Early Music Education. He has regularly performed with Apollo’s Fire, The Catacoustic Consort, and Hesperus, and, in his youth, worked as a cafe guitarist in the Virgin Islands.
RONN McFARLANE has released over 25 CDs on Dorian, including solo collections, lute songs, Elizabethan lute music and poetry, and ensemble music of the Baltimore Consort. Recently, in the tradition of lutenist/composers of past centuries, Ronn has composed new music. These original compositions are the focus of his solo CD, Indigo Road, which received a Grammy Award Nomination in 2009. His CD release, One Morning, features “Ayreheart,” a new ensemble brought together to perform Ronn’s music, and his most recent release is Two Lutes, Elizabethan lute duets with lutenist, William Simms. www.ronnmcfarlane.com.
MARY ANNE BALLARD researches many of the Consort’s programs. She also plays with Galileo’s Daughters, Brio and Fleur de Lys. Formerly, she directed or coached early music at the Peabody Conservatory, Princeton University, and the University of Pennsylvania, where she founded the Collegium Musicum and produced medieval music drama. She is now on the faculty of Oberlin’s summer Baroque Performance Institute. A resident of Indiana and New York City, she will music-direct the Play of Daniel for 75th Anniversary of opening of The Cloisters Museum in NYC this coming January.
MINDY ROSENFELD, a founding member of the Baltimore Consort whose playing graced our first decade, is also a long-time member of San Francisco’s Philharmonia Baroque Orchestra, and appears with other early music ensembles such as Apollo’s Fire. Fluent in a wide range of musical styles, she plays both wooden and modern flutes in addition to recorders, whistles, crumhorns, and early harp. Mindy actively freelances on the West Coast and is Principal Flute at the Mendocino Music Festival in her hometown. The mother of five boys, she loves dancing and tending her organic garden at home on “The Boy Farm”.
LARRY LIPKIS is Composer-in-Residence and Director of Early Music at Moravian College in Bethlehem PA. His cello concerto, Scaramouche, appears on the Koch label, and his bass trombone concerto, Harlequin, was premiered by the Los Angeles Philharmonic to rave reviews. The trilogy was completed when his bassoon concerto Pierrot was performed by the Houston Symphony. He has also served as Director of Pinewoods Early Music Week, and is currently a Music Director for the Pennsylvania Shakespeare Festival. Larry often lectures on the topic of Bach and Rhetoric, speaking this past summer at an NEH course in Leipzig.
DANIELLE SVONAVEC, soprano, is a graduate of the University of Notre Dame (BS in mathmatics, 1999, and MM in Voice, 2003) where she now teaches voice. While a student, she stepped in on short notice as soloist for the Baltimore Consort’s nine-concert 1999 Christmas tour. Since then she has toured with the Consort and appeared with the Smithsonian Chamber Players, Pomerium, the South Bend Chamber Orchestra, and the South Bend Symphony. She currently serves as the Cantor for the nationally televised mass at the Basilica of the Sacred Heart at Notre Dame, and recently began teaching middle school music at The Trinity Greenlawn School in South Bend. Danielle lives with her husband and three daughters on a farm near Goshen, Indiana.
Previously: THE PEABODY CONSORT
Basile Theater at the Glick Indiana History Center
450 West Ohio Street Indianapolis
Friday, July 11th 2014, 7:30 PM
“In the Circle of Henry VIII”
The Peabody Consort, founded in 1996 by Mark Cudek, is a select group of Early Music majors from the Peabody Conservatory’s Early Music Department.
The ensemble was recently featured at the Walters Art Museum’s Peabody on the Court Music Series and won an award from Early Music America to perform at the 2013 Boston Early Music Festival. Early Music America’s review of In the Circle of Henry VIII called it “simply stunning.” The Peabody Consort presented a program of Jewish music for the 25th Anniversary of Bolton St. Synagogue, and in 2009 performed a program of Shakespeare’s Music with actors from the Indiana Repertory Theatre at the Indianapolis Early Music Festival.
The Peabody Consort was also featured at the Kennedy Center in that institution’s Conservatory Project. Internationally, the ensemble has performed in Rome, Italy; Tokyo, Japan; and at several venues in Taiwan including the National Recital Hall in Taipei.
Basile Theater at the Glick Indiana History Center
450 West Ohio Street Indianapolis
Sunday, July 13th, 4:00 PM
“The Mark of Zorro w/Douglas Fairbanks”
Innovative, historically informed and multi-cultural, HESPERUS brings history alive with silent movie scores, cultural fusions and single-genre early music programs from the Middle Ages through the American Revolution. Whatever the genre, HESPERUS performs with creative energy, technical assurance and a sense of fun.
Since 1979, HESPERUS has appeared throughout the US, Southeast Asia, Latin America and Europe, most recently at Kennedy Center, the Smithsonian Folklife Festival, Lincoln Center, and Carmel Bach Festival and The Cloisters, as well as at festivals in Italy, Germany, Indonesia and Bolivia. Awards include the Logan Prize for Excellence in Educational Programming, the Music and Humanity Award from Music at Gretna, the Baltimore Chamber Music Award, and for Director Tina Chancey, a Lifetime Achievement Award from Early Music America.
Many in Indianapolis will remember Hesperus's "Robin Hood" program played to a full-house in 2012.
As IEM prepares to celebrate its Fiftieth Anniversary, a gallery of a some of the more memorable performances will be found here.