music association is dedicat- compiled by angela fasick ...europa galante. thomas quasthoff (for...

4 Spring 2006 Early Music America

Grants, Awards, & CompetitionsEnsemble Caprice has

been nominated for the Con-seil Québécois de la Mus-ique’s Prix Opus award inthree different categories,including best early musicconcert and best early musicCD (Mit Freude: Cantatas andInstrumental Music by Telemann,with Monika Mauch and Mar-ion Verbruggen, ATMA Clas-sique). The ensemble’slatest recording – featuringthe music of Fux, Caldera,and Badia – will be releasedby ATMA in 2006.

Early music figured promi-nently in the Grammy Awardnominations in 2006. Christo-pher Alder (Bach: Cantataswith Thomas Quasthoff andthe Berliner Barock Solistenand Lamento with MagdalenaKozená and Musica AntiquaKöln under Reinhard Goebel)and Thomas C. Moore(Mozart: Flute Concertos; Sym-phony No. 41 with MartinPearlman and BostonBaroque) were both nominat-ed as classical producer of theyear. In the category of bestopera recording, another pair

of early music nominees got anod: the Boston Early MusicFestival production of Con-radi’s Ariadne, conducted byPaul O’Dette and StephenStubbs, and Vivaldi’s Bajazetwith Fabio Biondi conductingEuropa Galante. ThomasQuasthoff (for Bach: Cantatas)and Cecilia Bartoli and Les

Musiciensdu LouvreunderMarc Min-kowski(OperaProibita)

will compete for best classicalvocal performance, while theTiffany Consort, NicholasWhite, conductor, hoped totake home a prize in the bestsmall ensemble performancecategory for O Magnum Mys-terium.

Toronto-based violinistTimothy Haig took first prizeand thespecialaudienceprize at the10th annu-al PremioBonportiInterna-

tional Baroque Competitionin Rovereto, Italy. The prizewas established in 1996 tohonor Trentino composerFrancesco Antonio Bonporti(1672-1749). Haig is the firstsolo artist to win first prize:3,000 euros plus performanc-es in Italy and Europe.

The Sarasa Ensemblereceived a $20,000 grant fromthe Kalliopeia Foundation,for the third year in a row, forits outreach concerts and resi-dencies in teenage lock upfacilities in the GreaterBoston area. Sarasa is alsocoming out with a new CD ofBach Cantatas with soloistsDominique Labelle and San-ford Sylvan.

AnnouncementsApollo’s Fire, The Cleve-

land Baroque Orchestra, hasappointed Christina Thoburnas its executive director.Before assuming her newposition, Thoburn was associ-ate director for planned andmajor gifts at the ClevelandMuseum of Art.

Scientists at the EnergyDepartment’s ArgonneNational Laboratory outsideof Chicago have compiledwhat they say is conclusiveevidence that Ludwig vanBeethoven died of lead poi-soning. They did so using apowerful X-ray beam on sixof Beethoven’s hairs and afew pieces of his skull. Moreinformation is available atwww.anl.gov/Media_Center.

The International WindMusic History Conference, ajoint undertaking of the His-toric Brass Society and theInternational Society for theInvestigation and Preserva-tion of Wind Music, will beheld in Northfield, MN, inlate July 2006. The conferencewill be accompanied by a Vin-tage Band Festival.

The New York State Early

Music Association is dedicat-ing its 2005-2006 season toretiring board officers andexecutive co-directors Peterand Elizabeth Hedrick. TheHedricks helped to found theorganization and spent over20 years serving it. The asso-ciation is now seeking toacquire funding to hire anadministrator to continue theHedricks’ work.

Celebrating the SeasonThis holiday season,

WKCR-FM presented Bach-Fest 2005: a round-the-clock10-day celebration of themusic of Johann SebastianBach. From 9:30 AM on Dec.22 until 2:00 AM on Jan. 1,the New York radio stationbroadcast Bach’s choral,orchestral, chamber, and key-board music in a wide varietyof recordings. The festivalalso featured interviews withleading Bach scholars andperformers.

Boston Baroque celebrat-ed the flipping of the calen-dar year with champagne andGala New Year’s Eve andFirst Day concerts. The pro-gram included Bach’s ThirdBrandenburg Concerto,Corelli’s Christmas Concerto,and music by Marcello andHandel, with Sharon Baker(soprano), Marc Schachman(oboe), and Peter Sykes(organ) as featured artists.

For the past 18 years, CoroHispano de San Francisco hascelebrated the winter holidaysin January by presentingmusic composed expressly forthe Epiphany and the other12 days of Christmas. Thisyear, Juan Pedro Gaffneydirected the ensemble and thevoices and instruments ofConjunto Nuevo Mondo inmusic by Francisco Guerrero,Juan Gutierrez, Roque Ceruti,

Compiled by Angela Fasick

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EnsembleCaprice

Continued on page 7

Early Music America Spring 2006 5

San FranciscoSan Francisco

Renaissance Voices

Todd Jolly, Music Director

“The Polyphony Project - 2006” “The Polyphony Project - 2006”

(The Early Franco-Flemish School)

CANDLEMAS

(featuring Isaac’s Missa Virgo Prudentissima)

February 25, 2006 – 7.30 PM

FEAST FOR St. JACOBUS

(featuring Dufay’s Missa L’homme arme)

July 29, 2006 – 7:30 PM

OFFICE OF THE DEAD

(Our traditional Halloween concert

featuring Ockeghem’s Requiem)

October 28, 2006 – 7:30 PM

All concerts are at

Seventh Avenue Performances

1329 Seventh Avenue, San Francisco 94122

415.664.2543 – www.swww.sfrv.org

Berkeley Festival 2006The 9th biennial Berkeley Festival & Exhibition, (June 4-11) will celebrate the notion that “Early Music Is PopularMusic” with performances of a Baroque Carnival by LeCentre National des Arts du Cirque and Le Poème Har-monique. Other groups performing during the Festivalinclude Chanticleer (“La Guerre: Triumph & Tragedy”),Asteria (“A Rose of Such Virtue”), The King’s Noyse andthe Whole Noyse (“Ornament and Splendor: Highlights ofGerman Music in the 17th Century”), the PhilharmoniaBaroque Chamber Players (“Viva Vivaldi – Concerti byCandlelight”), Musica Pacifica (“A Venetian Carnival”),and Skip Sempé’s Capriccio Stravagante Trio (“The Itiner-ant Virtuosi”). Early Music America will stage a conferenceon the subject “The Early Music Entrepreneur” and man-age the Berkeley Festival Exhibition. A full array of fringeconcerts will be organized by the San Francisco EarlyMusic Society, and the American Recorder Society willsponsor events related to the recorder. American BachSoloists will hold its fourth biennial Young Artists Compe-tition, now named the American Bach Soloists & Henry I.Goldberg International Young Artists Competition, inmemory of Dr. Henry I. Goldberg, who served as boardpresident from 2002 to 2005. In addition, the first prizewill be named in honor of Laurette Goldberg (1932-2005),a leading force in the Bay Area’s early music communityfor many years. In fact, the entire Festival is dedicated tothe memory of Ms. Goldberg, one of the founders of theFestival. The full schedule is at http://bfx.berkeley.edu.

Le Centre National des Arts du Cirque and Le Poème Harmonique will perform a Baroque Carnival at the Festival.

While on tour in December, the BaltimoreConsort spread holiday cheer throughoutSeattle's Harborview Medical Center.

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and Antonio de Salazar, aswell as other works from the19th- and 20th-century folktraditions.

The Early Music Guild ofSeattle marked the winterholidays with a presentationof the Medieval Norwegianvision song Draumkvedet, awork that recounts a dreamjourney through Heaven andHell taken by Olav Åstesonas he sleeps for 13 days fromChristmas Eve untilEpiphany. The theatrical per-formance featured narrationin English based on transla-tions from the Norwegian,digitally projected imagery,and vocal and instrumentalmusic all under the directionof Nancy Quensé (narration,vocals), Beth Kollé (harp,vocals), and Katherine Han-son.

Early Music Vancouvermarked the season with “TheBach Cantata Project: FestiveBach Cantatas for Christ-mas.” Marc Destrubé direct-ed soprano Suzie LeBlanc,alto Elizabeth Shammash,tenor Colin Balzer, and bari-tone Sumner Thompsonalong with the Early MusicVancouver Bach CantataProject Players.

Two holiday events spot-lighted music for soprano

and Baroque trumpet. InOttawa, La Favoritte’s“Rejoice! Christmas Cantataswith Baroque Trumpet,” fea-tured Lise Maisonneuve,soprano, and Josh Cohen,Baroque trumpet. Music atMorris-Jumel Mansion inNew York City presented “SiSuoni la Tromba,” seasonalmusic for soprano and trum-pet by Bach, Melani, andScarlatti with Jessica Gould(soprano) and Jim Miller(Baroque trumpet).

In New Orleans, Musicada Camera’s first concert ofits 40th season, delayed byHurricane Katrina, was enti-tled “An Exultation ofAngels.” The group’s firstannual Christmas concert,performed over 30 years ago,shared that title, and the newversion, presented this year,tied together past, present,and future by combining thewomen’s voices of Vox Femi-nae with their fledgling men’sensemble.

The Orchestra of NewSpain celebrated Christmasin Dallas’s Cathedral Virginof Guadalupe Shrine with aprogram of RenaissanceSpanish vocal works by the Valencian composerBartomeu Cárceres.

Philadelphia was the siteof a fruitful Advent collabo-ration between Piffaro, TheRenaissance Band, and theChoir of St. Ignatius Loyolaof New York. “A FestiveVespers, Dresden 1620”focused on works by Praeto-rius, Schütz, and Scheidt.

The Southern CaliforniaEarly Music Society presen-ted a December lecture-demonstration in Los Ange-les of Gregorian chant fea-turing The Chapel ofCharlemagne, directed by


Send Us Your News!Sound Bytes Summer 2005Deadline: April 3

Sound Bytes tries to cover earlymusic news and newsmakers ascompletely as possible, but wecannot publish every news item.All materials must be dated,include a name and contactnumber, and sent to: SoundBytes, EMAg, 2366 Eastlake Ave.East, #429, Seattle, WA 98102;e-mail: [email protected](include “Sound Bytes” in subjectline). Digital photos may be sentby e-mail as 300 dpi TIFF or JPEGimages in color or b&w.

THOM FREAS, ARTISTIC DIRECTOR WITH FRISCO, ASSISTANT ARTISTIC DIRECTOR, & E. LILY, WHO CONTEMPLATES BECOMING THE

SECOND CLARINO PLAYER IN THE ENSEMBLE.

anfare Consort

Specialists in Early Music Performance“. . . sparkles with originality. They’re among the best original instrument bandes.”

~ Kate Remington, Music Director WSHU Public Radio Group

WWW.FANFARECONSORT.COM 203.733.9733

“Thom Freas combines a dark and full baroque trumpet sound with smooth, lyrical phrasing that brings to mind Armando Ghitalla . . . The strings and the harpsichord also tend towards the dark and mellow in their sound and approach, creating a unified ensemble with a gentle baroque style which is surprisingly relaxing to listen to.” ~ Flora Newberry, Historic Brass Society review

of THE INTIMATE SONATE

Robert Fowells.Also in December, The

Tallis Scholars returned for aspecial performance at theChan in Vancouver to cele-brate the 500th Anniversaryof the birth of the ensem-ble’s namesake, ThomasTallis. The program includedmusic by John Taverner andWilliam Byrd.

Cool ConcertsThe Baroque orchestra

Arion continued its 25thanniversary season with aprogram entitled “The Tor-ment and the Consolation,”which featured three funeralcantatas by J.S. Bach. Arionwas joined by guest conduc-tor Bernard Labadie, theChoeur Studio de musiqueancienne de Montréal, andguest soloists Shannon Mer-cer (soprano), David Hansen(countertenor), Tony Boutté(tenor), and Joshua Hopkins(baritone).

The Newport BaroqueOrchestra performed a can-dlelit concert in TrinityChurch of Newport, RI, inOctober that featured two18th-century composers affil-

iated with that city. Trinity’sorgan, made in England byRichard Bridge in 1733, wassaid to have been played byHandel before the instrumentarrived in Newport in 1734.Trinity’s first organist wasCharles Theodore Pachelbel,son of the celebrated com-poser of the Canon in D.

Also in October, NewYork’s the Nieuw Amster-dam Consort (Karol Stead-man, soprano, Michael Reder,bass, and David Scholer,organ and harpsichord) pre-sented Heinrich Schütz’s“Symphoniae Sacrae” withguest artists Marcia Young,soprano, and Todd Frizzell,tenor.

Monica Huggett andmembers of the PortlandBaroque Orchestra presentedJ.S. Bach’s Musical Offering andtwo of the rarely heard Con-certi Armonici by Count Unicovan Wassenaer in November.The performance featuredguest artists Janet See, flute,and William Skeen, viola dagamba. Skeen also performedon a rare original violoncellopiccolo built in northern Italyaround 1685.


“The best Americanspecialists in

Early Music.”THE WASHINGTON POST

Announcing the 2006American Bach Soloists &

Henry I. Goldberg InternationalYoung Artists Competitionat the 9th Biennial Berkeley

Festival & Exhibition

ATTENTION SINGERS!

Semi-Finals ~ June 7, 2006Finals ~ June 9, 2006Berkeley, California

Open to vocalists born afterJune 9, 1971.

Application materials due byFriday, April 15, 2006

Guidelines & application:

americanbach.org/competition415/621-7900

Laurette Goldberg Prize: $3,000plus a featured appearance on an

ABS subscription concert

Second Prize: $2,000

Third Prize: $1,000

Colin Ainsworth and StephanieNovacek in Opera Atelier's production of Lully's Armide.

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Recently, I was invited by the seniorclass to write a letter in the collegeyearbook. I did what I’ve donebefore, which is to give useful advicethat probably won’t be followed. It’sadvice that Leopold Mozart mighthave given to his son Wolfgang,since that the father was the authorof the best-selling book on thesubject. Except that Leopoldprobably didn’t advise Wolfgang onthe subject—he just told him.

In this age of best-selling self-helpand self-improvement books thatstretch a single, perfectly reasonablesuggestion to extraordinary lengthso as to make a fat book out of a simple idea, perhaps I should savewhat I wrote and make my own best-selling self-help book. Readers areurged to think of what follows here as a sketch for a forthcoming bookand not pirate the idea in order to make a book of their own.

Here’s what I wrote for the senior class:

I have really only one recommendation—I’ve said it before, and I’ll say it again: LEARN TO PLAY THE VIOLIN!

Here’s why:

You’ll learn self-discipline: you’re the only person who knows whetheryou’re practicing.

You’ll learn to value your time.

You’ll become more efficient, in order to find practice time.

You’ll improve your powers of concentration.

You’ll improve your memory.

You’ll improve your small-motor coordination.

You’ll learn to appreciate the almost unnoticeable, incrementalimprovements in your playing that, over a long time, add up to real,substantial progress.

You’ll meet all sorts of people.

You’ll learn to collaborate in chamber music with other people insituations where nobody is in charge.

You’ll learn to think on your feet and to react in real time to whatothers are contributing.

You’ll learn to be one of many in an orchestra, trying to be asanonymous as possible, never the first to start the note, and never the last to finish it.

You’ll have, for the rest of your life, more beautiful music to play than you can possibly have time for.

Thomas Forrest Kelly is a professor of music at Harvard University and a board member and past president of Early Music America.


by Thomas Forrest Kelly

EARLYMUSIC

MUSINGS

For Opera FansBowling Green State Uni-

versity’s College of MusicalArts, in collaboration withthe Eastman School ofMusic’s Musicum Collegium,presented Gli Amori d’Apollo edi Dafne (1640) by FrancescoCavalli in November 2005.Paul O’Dette served as musicdirector, guest artist EmilyFreeman Brown as conduc-tor, and Christopher Scholl asproducer.

Opera Atelier’s 20thAnniversary season openedwith the North America pre-miere of Lully’s Armide. Mez-zo-soprano StephanieNovacek played the title roleof Armide and tenor ColinAinsworth played her lover,Renauld. Andrew Parrottconducted the TafelmusikBaroque Orchestra andChamber Choir.

The University of NewHampshire’s Music Depart-ment produced a semi-stagedversion of Monteverdi’sL’Orfeo with baritoneNicholas Laroche in the titlerole. Both students and facul-ty participated in the Novem-ber production, which wasdirected by David Ripley withassistance from JenniferSneirson-Kun. Performersincluded Erin Murphy(Euridice), Linsey-Jean Tufts(Speranza), ElizabethMitchell (La Messaggiera),Emily Faulhaber (La Musica),and Ben Clark (Plutone).They were accompanied by

an orchestra that featuredRobert Stibler on cornettoand recorder, Paul Merrill onrecorder, and Peter Urquhart,Emily Urquhart, and DanielBeller-McKenna on viols.

DebutsThe Baroque Chamber

Orchestra of Coloradokicked off its inaugural sea-son in Denver with the pro-gram “The Birth of theOrchestra.” The Novemberconcert featured music byCorelli, Lully, Handel, Vival-di, and Geminiani.

Boston Hausmusik is anew period instrumentensemble dedicated to per-forming works from theClassical and Early Romanticeras. Fortepianist and artisticdirector Sylvia Berry joinshistorical string players Abi-gail Karr, Sarah Darling, andKate Bennett Haynes toform the core of the ensem-ble. The group’s first seasonis headlined Mozart 250: Con-certs Celebrating the 250thAnniversary of Mozart’s Birth.

A long-time performer inEurope, Rebecca Bain is backin Montreal where she hasformed a new ensemble: LesFumeux. Composed ofsinger-instrumentalists Bain,Katherine Hill, CatherineHerrmann, and Esteban LaRotta, Les Fumeux will makeits debut in March with aprogram entitled “The FifthHumour: Songs of theFrench ‘Avant-Garde’ of the

On Playing the Violin

L’Orfeo at the University of New Hampshire


The unique, ear-opening sounds of Early Music – performed by some of the world’s finest ensembles.

The Yukimi Kambe Viol Consort

European Roots & International Flowerings

Verbruggen & Galhano *

Art of the French & German Baroque

The Ivory Consort

Music in the Land of Three Faiths

The BostonCamerata #

A Medieval Christmas

Hargis & O'Dette * #

Amour, Cruel Amour

Ex UmbrisMelancholy: Downe

in the Dumpes

Our 19th Season — 2005-2006at various Milwaukee venues

* also in Madison / # also in Evanston

For a complete season brochure: EARLY MUSIC NOW1630 East Royall Place ◆ Milwaukee, WI 53202-1810

414.225.3113 ◆ [email protected] ◆ earlymusicnow.org

Late 14th Century.”A series of concerts cele-

brating music of the earlyMoravians was inaugurated atthe Old Salem Visitors’ Cen-ter in Winston-Salem, NC,with a performance of anewly reconstructed choral“lovefeast” composed for aMoravian church festival onAugust 13, 1787. The concertby the Moramus Chorale anda period instrument orchestrawas conducted by JamesBates, and Susan Bates playedthe Center’s restored DavidTannenberg organ (1800).

Last August, the Philhar-monia Baroque ChamberPlayers made their debut at aspecial concert in CoventGarden in London. Theensemble features four ofPBO’s principal musicians:violinists Katherine Kymeand Lisa Weiss, cellist WilliamSkeen, and harpsichordistYuko Tanaka. In January, theensemble was joined by mez-zo-soprano Judith Malafrontefor a performance of Vivaldi,Purcell, Muffat, Handel,Monteclair, and Durón at the

Versailles-inspired Louis XVIroom at Southwestern LawSchool.

In November, audiencesin northern Berkshire Coun-ty, Massachusetts, welcomedthe founding of Williams-town Early Music by AllisonMondel and Richard Giarus-so. The first season includesperformances of Jean-Philippe Rameau’s secularcantatas, Franz Schubert’s lastgreat song cycle “Schwa-nengesang” with voice andfortepiano, J.S. Bach’s ThePassion According to St. John inan intimate chamber musicsetting, and The Passion of St.Ursula, an original narrativepassion play recounting themartyrdom of St. Ursula andthe 11,000 virgins and featur-ing the chants of Hildegardvon Bingen.

EducationTafelmusik and Analekta

have inaugurated TafelKIDSrecordings with BaroqueAdventure: The Quest for ArundoDonax, an orchestral odysseyin 18th-century Europe. Cre-

In MemoriamScott Reiss, 54, recorder player

and co-founder of both the FolgerConsort and Hesperus, ended his lifein December 2005 after a long strug-gle with bipolar disorder. Reiss,known as one of the few musicianswho made his living fully from per-forming on recorder, exploredbeyond the instrument’s standard repertoire, mixing itwith popular and indigenous music in crossover arrange-ments of great imagination and taste. He was the organi-zer of the American Jazz Recorder Festival at Berklee Col-lege in 1995 and a contributor to American Recorder andEarly Music America. On January 28, his wife Tina Chancey,members of Hesperus, and guest artists from the folkmusic field gave a memorial concert in his honor.


ated by Tafelmusik’s AlisonMackay, the CD was recordedin both French and Englishand features the TafelmusikBaroque Orchestra and narra-tion by Blair Williams (inEnglish) and Albert Millaire(in French). The recordingwas made possible throughthe generous support of theRBC Foundation and theOntario Trillium Foundation.

Events of NoteBelle Meade Baroque,

Nashville’s new period-instru-ment ensemble, gave the areapremiere of the recently dis-covered Bach aria “Alles mitGott und nichts ohn ihn” atits October concert at St.George’s Church. Barbi Mc-Culloch, who recently won anIndividual Artist Award fromthe State of Tennessee, wassoprano soloist, and harp-schord continuo was playedby Murray Somerville, thechurch’s director of music.

Phillip W. Serna, teacher,double bassist, and viola dagambist, organized the recent“Concert for Compassion,” adisaster relief concert inNaperville, IL, with PastorDavid Huff of Grace Fellow-ship Church. The event raisedmoney for Samaritan’s Purse,Red Cross Katrina Fund,Red Cross Asian EarthquakeFund, and Habitat for Hu-manity. Performers includedKen Perlow, Phillip W. Serna,Mary Springfels, CraigTrompeter, and RussellWagner.

Over four days in Novem-ber, Early Music Now pre-sented a multi-faceted projectaffiliated with “Art, Faith, andSocial Justice,” a Milwaukeecommunity project. In orderto answer the question, “Canwe create a culture of toler-ance?” EMN looked toMedieval Spain, and theresulting “Music in the Land

of Three Faiths” provided anexploration of how Muslims,Jews, and Christians achieveda period of prosperity andmutual respect in Spain priorto 1492. EMN presentedthree concerts by The IvoryConsort (one of them a spe-cial program for high schoolstudents) and placed MariaRosa Menoca, a scholar ofthe period, in a MilwaukeePublic Library lecture and onthe panel of 4th Street Forumfrom Turner Hall.

In mid-October, VeraKochanowsky presented alecture about Johann KasparKerll’s music for the Jesuitdrama Pia et fortis mulier (1677)during the fourth annualKerll-Rosenmueller Festival in

Adorf, Ger-many. Herpresenta-tion prece-ded a per-formanceof thework, the

only surviving dramatic musicby the composer, by MusicaFiata and La Capella Ducale.The performance took placein Kerll’s hometown and inthe church where he wasbaptized.

In November, Machicoti,A Medieval Ensemble (AmyBartram, Grace Check, andBeth Cullinane), presentedthree concerts in conjunctionwith a major new exhibitionat the New York PublicLibrary, “The Splendor of theWord: Medieval and Renais-sance Illuminated Manu-scripts.” Machicoti’s program,“Singing from MedievalSources: Music fromMedieval France,” was a con-cert of Latin song, c.1200,sung from original 13th-century notation.

This February, in Madison,WI, L’Ensemble Portique

“A hearty trio of medieval minstrels.”

“Trefoil not only sings the music with accuracy but inflects it with meaning that takes it out of pure abstrac-tion.”

- The Philadelphia Inquirer

www.trefoiltrio.com

Drew Minter countertenor & harp

Mark Rimple countertenor, lute and harp

Marcia Young

soprano & harp

CDs available online:

www.msrcd.com

Continued on page 58

Kochanowsky


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presented a program of earlyand contemporary chambermusic played on historicaland modern instruments.Works by Falconieri, Gemini-ani, Oswald, and Vivaldi wereheard together with worldpremieres by Michael Mayer-field Bell, Gonçalo Lourenço,and Jeff Snyder.

Music & LiteratureIn November in Bristol,

RI, the Music at St. Michael’sconcert series offered “Mea-

sure for Measure: OriginalMusic from Shakespeare’sPlays,” a performance byEnsemble Chaconne featur-ing mezzo-soprano PamelaDellal.

New York audiences wereinvited to “Ponder the Plan-ets with author Dava Sobeland Galileo’s Daughters.”Sobel is the author of Longi-tude, Galileo’s Daughter, and The Planets. The ensembleGalileo’s Daughters – sopra-no Sarah Pillow and viola da

Continued from page 11

Ensemble Chaconne


gambist Mary Anne Ballard –with lutentist Ronn McFar-lane as Vincenzo Galelei,joined the author for anevening of charismatic story-telling and exuberant musicof the period.

New Yorkers also had theopportunity to appreciate thewritings of John Donne andthe music of his Elizabethancontemporaries. Parthenia(Beverly Au, Lawrence Lip-nik, Rosamund Morley, andLisa Terry) presented “WhenMusic and Sweete PoetryAgree,” featuring actor Paul Hecht reading Donne’slove poems to musicalaccompaniment.

On TourCon Gioia’s director,

Preethi de Silva, gave arecital on two fortepianos inthe Beurmann-Collection atMuseum für Kunst undGewerbe (Museum of Artsand Crafts) in Hamburg,Germany, and was also fea-tured at the Festival derKünste outside of Berlin.With Prince Friedrich Wil-helm of Prussia as the narra-tor, de Silva played while ex-cerpts were read from thecorrespondence between theprince’s ancestors, KingFrederick the Great of Prus-sia and his sister, MargravineWilhelmine of Bayreuth,both highly gifted musicians.

The Boston-based vocalensemble Exsultemus spentJanuary on its first overseastour. The group was part ofthe ceremonies at Germany’sAachen Cathedral that cele-brated the unveiling of amodern critical edition of theRhymed Office of Charle-magne, the music composedfor the Holy Roman Emper-or’s canonization as a saint.Exsultemus performed theCompline service from theRhymed Office and then

joined the Cathedral Choirfor a Vespers service. Theensemble also performed atthe Cathedral of St. Paul,Liège, Belgium.

The Lyra BaroqueOrchestra performed inMadrid, Spain, as part ofSpain’s December GoldenCenturies series. The Orches-tra’s appearances in Madridwere organized and spon-sored by the Fundación CajaMadrid. Lyra repeated its all-Boccherini program in Val-ladolid, in Zamora, and inLeón at the festival observingthe 200th anniversary ofBoccherini ’s death.

Techo NewseMusic, an independent

music subscription serviceselling more than 2.4 milliontracks monthly, has an-nounced a landmark partner-ship with Naxos and willoffer the label’s entire 75,000-track catalog. Naxos wasrecently awarded the Label ofthe Year Award at The Clas-sic FM/GramophoneAwards ceremony for itsvisionary approach to digitaldistribution and music educa-tion. The label’s extensivelibrary of early music record-ings will add to eMusic’salready industry-leadingClassical collection.

Looking AheadCatharina Meints played

her solo viol program, “TheAmber Viol,” in Baltimore,Washington,DC, andOberlin inNovember.The per-formanceincludedvirtuosomusic combined with the realand imagined history of her1680 Tielke viol – The RedViolin meets “Antiques Road

Show.” Meints plans to retirein June after 35 seasons as acellist in the ClevelandOrchestra and will devotemore time and energy toplaying and teaching earlymusic both at Oberlin andacross the country.

Benjamin Bagby’s soloperformance of the MedievalBeowulf epic (including a sec-tion never before performed)will be presented this sum-mer at the Lincoln CenterFestival in NYC. The July

performances will coincidewith the release of a DVD ofhis performance, filmed inHelsingborn, Sweden, inJanuary 2006.

Baroque flutist CourtneyWestcott and harpsichordistRhona Freeman will presenta program of FrenchBaroque music in the PacificNorthwest this spring, begin-ning with an April concert onthe Camerata Musica series inRichland, WA, and at a newvenue in Yakima.

American Bach Soloists, San Francisco, CA, $10,000. To sup-port a series of performances of choral works by 16th- and 17th-centuryEnglish composers, including William Byrd, Orlando Gibbons, and HenryPurcell. The series, to be recorded for radio broadcast, will include pre-concert lectures by local musicologists and educational outreach to areapublic school music students.

Boston Baroque, Belmont, MA, $7,500. To support perform-ances of Cherubini’s Requiem in C Minor . This work was performed atthe funeral of Beethoven, who regarded Cherubini as “Europe’s fore-most dramatic composer.”

Early Music America, Seattle, WA, $20,000. To support anational conference, professional development sessions, and an earlymusic marketplace in Berkeley, CA, and touring professional develop-ment sessions in Madison, Wisconsin, and New York City.

Handel & Haydn Society, Boston, MA, $20,000. To supportperformances of Handel’s oratorio Belshazzar and related educationalactivities.

Hesperus, Arlington, VA, $10,000. To support the developmentand production of the Hunchback Project. The silent film The Hunchbackof Notre Dame will be presented with early French music performed live.

Philharmonia Baroque Orchestra, San Francisco, CA,$10,000. To support the commission and performance of a cantatascored for period instruments by composer Jake Heggie. The perform-ances, preceded by free public lectures, will celebrate the orchestra’s25th anniversary.

Tempesta di Mare, Philadelphia, PA, $10,000. To support“Ambassador Franklin in London,” a concert commemorating the 300thanniversary of Benjamin Franklin’s birth.

Recent NEA Grants to Early Music

Courtney Westcott and Rhona Freeman

Meints

music association is dedicat- compiled by angela fasick ...europa galante. thomas quasthoff (for...

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