Awards Grants Discoveries Education

Compiled by Angela Fasick
ma, a Kyoto Prize Medal, and
a cash gift of 50 million yen
(approximately $460,000) in
received the 2005 Chorus
Kyoto, Japan.
America Margaret Hillis
Massachusetts Institute of
Achievement Award for
Technology student Mary
Choral Excellence at the
organization’s annual confer- Farbood won first prize at
this year’s
ence, held this year in ChicaPrague
go in June. The award is preSpring Fessented once every three years
tival Interto an ensemble that demonnational
strates artistic excellence, a
Harpsistrong organizational strucchord
ture, and a commitment to
Mary
Competioutreach, education, and culFarbood
tion. Farturally diverse activities.
bood, a student of Mark
The Boston-based vocal
Kroll, was chosen by an interensemble Tapestry was
national panel of judges; her
awarded the 2005 ECHO
Klassik prize by the Deutsche 36 competitors came from
Phono-Akademie, the cultural every country in Europe, plus
Korea, Japan, China, and the
institute of the German
United States.
recording business, for its
Sir John Eliot Gardiner,
recording Sapphire Night on
the German MDG label. The founder and conductor of
CD features music by Hilde- the Monteverdi Choir, Enggard von Bingen and Patricia lish Baroque Soloists, and
L’Orchestre Revolutionnaire
van Ness.
et Romantique, picked up an
The Woodrow Wilson
National Fellowship Founda- honorary doctorate from the
tion has awarded a Charlotte New England Conservatory
W. Newcombe Doctoral Dis- when he gave the school’s
sertation Fellowship to Sarah 2005 commencement address
J. Eyerly, a Ph.D. candidate at this spring. Gardiner was also
this year’s winner of the Bach
the University of California,
Davis, for her “Singing from the Medal of the city of Leipzig.
Heart”: Memorization and
Improvisation in Eighteenth-Cen- Grants
The Connecticut Commistury Utopian Communities of the
sion on Culture and Tourism
Moravian Church.
awarded Fanfare Consort a
Japan’s Inamori Foundagrant to present concerts of
tion has selected Austrian
early music pioneer Nikolaus Baroque music to school chilHarnoncourt as one of three dren. The concerts will take
place in historic Colonial-era
laureates for its 21st annual
Kyoto Prizes for contributing buildings. The ensemble, led
by artistic director Thom
significantly to the betterFreas, is also completing a
ment of mankind. In November, he will receive a diplo- recording of works by
Awards
The Rose Ensemble
Alessandro Melani for clarino, high voice (male soprano
and male alto), Baroque violins, and basso continuo.
The McKnight Foundation awarded Lyra Baroque
Orchestra (Minneapolis, MN)
a $30,000 grant to support its
2005-06 and 2006-07 seasons.
Discoveries
In June, Michael Maul, a
researcher at Leipzig’s Bach
Archive, discovered a previously undocumented Bach
composition in a shoebox of
birthday cards in the Anna
Amalia Library in Weimar,
Germany. Bach was 28 when
he wrote the score in 1713
for the 52nd birthday of
Duke Wilhelm Ernst of SaxeWeimar. The piece represents
a setting of a strophic aria
with ritornello for soprano,
strings, and basso continuo.
The opening words of the
aria “Alles mit Gott und
nichts mit ohn’ ihn” mean
“Everything with God and
nothing without him,” the
Duke’s motto, and are from a
poem by theologian Johann
Anton Mylius. The aria is the
first authentic vocal work of
Bach’s to be discovered in 70
years. A facsimile and performing edition of the newly
discovered piece will be published in the fall of 2005 by
Bärenreiter-Verlag of Kassel,
Germany. The first recording
will be prepared by Sir John
Eliot Gardiner.
Education
This September, Dietrich
Buxtehude will be the focus
of the American Guild of
Organists’ National Conference on Organ Pedagogy at
the University of Notre
Fanfare Consort
Early Music America Fall 2005
3
BOSTON UNIVERSITY
School of Music
M.M., D.M.A. IN HISTORICAL PERFORMANCE
Boston University and Boston Baroque
An Exciting New Collaboration in Historical Performance Training
Peter Sykes, Department Chairman
harpsichord, fortepiano, continuo, performance practice
Martin Pearlman, Artist in Residence
baroque orchestra, chamber ensembles, performance practice
Marilyn McDonald, baroque violin
Jane Starkman, baroque violin
Christopher Krueger, baroque flute
Emlyn Ngai, baroque violin
Sarah Freiberg, baroque cello
Marc Schachman, baroque oboe
Laura Jeppesen, viola da gamba
Aldo Abreu, recorder
Faculty of the Voice and Opera Departments
For more information, contact:
Zoë Krohne, Director of Admissions
800-643-4796 • 617-353-3341
cfamusic @bu.edu • www.bu.edu/cfa
Resident Professional Ensemble Boston Baroque provides training,
educational enrichment, and performance opportunities for current students
and graduates of the program. Students play and learn side-by-side with
distinguished professionals.
4
Fall 2005 Early Music America
An equal opportunity, affirmative action institution.
Dame. Kerala Snyder, the
author of Dieterich Buxtehude:
Organist in Lübeck (Schirmer
Books, 1987) will present a
keynote lecture each morning
of the four-day conference.
In April, Steven Plank
conducted the Oberlin College Collegium Musicum in
music by Josquin, Senfl, and
Lassus at the Cathedral
Basilica of the Assumption
in Covington, KY, and Calvary Episcopal Church in
Pittsburgh.
Anne and Rob Burns, as A
Reasonable Facsimile, presented programs at over 40
Michigan libraries this summer in connection with the
national summer reading program themes “Dragons,
Dreams and Daring Deeds”
for young readers and “Joust
Read” for teens. Some of the
libraries presenting A Reasonable Facsimile received funding from the Michigan
Humanities Council.
The Université ParisSorbonne has announced the
creation of a master’s degree
program in the performance
practice of Medieval music,
Chanticleer
directed by Frédéric Billiet,
Katarina Livljanic, and
Benjamin Bagby
(www.paris4.sorbonne.fr).
The Yale Institute of
Sacred Music and Yale
School of Music appointed
lyric tenor James Taylor to
the voice faculty in the program in early music, song,
and chamber ensemble, as
associate professor of voice.
Taylor joins Yale from the
Musikhochschule in Augsburg, Germany, where he
has been a tenured professor
of voice since 2001.
This fall, Lisa Terry
(ARTEK, Parthenia) will join
the faculty of the FrenchAmerican Conservatory of
Music in Manhattan. Terry
will teach viola da gamba,
cello, and early music chamber ensembles, including
violin band, viol consort,
and continuo playing.
Premieres
In June Chanticleer, the
12-man vocal ensemble
based in San Francisco, performed the world premiere
of Hildegard: A Measure of
Joy, a music theater piece
based on the life of 12thcentury abbess, mystic, and
composer Hildegard von
Bingen. Opera and theater
director Francesca Zambello
worked with Chanticleer
music director Joseph Jennings and the singers to
stage the piece. Playwright
Donna DiNovelli wrote the
book; Broadway veteran
Anita Yavich designed the
costumes. The music
includes selections by Hildegard von Bingen and other
composers of her time along
with new commissions by
contemporary composers
Régis Campo and 2005
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Early Music America Fall 2005
5
Berlin’s Sing-Akademie. The
Italian Baroque ensemble
Modo Antiquo performed
the work.
“Angels and Archangels,”
the 10th-anniversary concert
by Musica Spei (Rochester,
NY), was devoted to the
familiar and the unknown
music of Renaissance composer Heinrich Isaac. The
concert in June included the
world premiere of a rarely
performed work by Isaac in a
new edition by musicologist
and Eastman School of
Music professor Patrick
Macey.
In Memoriam
On June 23, 2005, Howard
M. Schott died at the age of
82 in Boston, MA. Schott
was raised in New York and
attended Yale University and
Yale Law School. He served
in the U.S. Army Military
Intelligence Service during
WWII. After a 20-year career
in international law, he
returned to the study of
keyboard music and instruments at Oxford in 1968
and received his D.Phil. in
Les Voix humaines
Susie Napper & Margaret Little :: viols
Photo: Johanne Mercier
Pulitzer Prize-winner Steven
Stucky.
In August, Ignoti Dei
Opera, a young opera company based in Baltimore, Maryland, presented the New
World premiere staging of
Marc-Antoine Charpentier’s
1688 masterpiece David et
Jonathas. IDO gathered a cast
of all male leads from around
the world, along with a period orchestra, to perform the
work.
The Magnolia Baroque
Festival in Winston-Salem,
NC, featured an aria, once
thought to be lost, from
Johann Friedrich Agricola’s
oratorio Die Hirten bei der
Krippe (The Shepherds at the
Manger). Glenn Siebert, the
festival’s founder and director, found a copy in the
archives of the Moravian
Music Foundation.
The Vivaldi opera Motezuma received its modern-day
premiere in Rotterdam this
June. The German musicologist Steffen Voss discovered
the work, composed in 1733
for the Teatro di Sant’Angelo
in Venice, in an archive in
Montreal s’ internationally
acclaimed viola da gamba duo
“wild and exhilarating”
::
“fluidity and virtuosity”
::
“expressive vitality and sophistication”
Early wind players in New York City’s Right Track studio
recording the sound track in June for the new Disney film
Casanova, a romantic comedy directed by Lasse Hallstrõm,
starring Heath Ledger and scheduled for release in late December.
“These are passionately committed performances,
resonant and full of fresh insights... Napper and Little
have momentarily penetrated the mists of time.”
– JULIE ANNE SADIE, GRAMOPHONE AWARDS
ISSUE,
2003
“Their long experience of playing as a duo means
that they think and play as one person,
(…) approaching the near-miraculous.”
– BRIAN ROBINS, FANFARE, NOVEMBER/DECEMBER 2001
BOOKING: Élisabeth Comtois :: Agence Station-Bleue
T: 514.273.3093 :: email: elisabe@attglobal.net
w w w. l e s v o i x h u m a i n e s . o r g
Early Music America Fall 2005
7
make its debut with the New
World Symphony under the
baton of Robert King.
1978. He published several
works on historical keyboards
and was an active participant
in the early music communities of England, New York,
and Boston. A memorial concert will be held in October.
Debuts
Akademie für Alte Musik
Berlin, the German Baroque
ensemble founded in East
Berlin in 1982, made its
American debut in May 2005
with a five-city tour that took
them to Illinois, Washington,
D.C., New York, Massa-
chusetts, and California.
The international debut of
reconstruction came this
spring when the Californiabased quartet presented concerts in Mexico at the Teatro
Nazas in Torreon and at the
Festival de San Luis Potosi.
Led by Patrick Dupré
Quigley, Seraphic Fire, the
chamber choir once affiliated
with the Church of the
Epiphany in Miami, will go
regional this fall, giving performances in Coral Gables,
Fort Lauderdale, and Palm
Beach. The group will also
Good Causes
Exsultemus, the Bostonbased choral octet, participated in “Walk for Music,” an
event that brought together
performers, families, and
friends from across New
England to support the activities of local music organizations.
In June, L’Ensemble Portique ended its third season
with a benefit concert where
all proceeds from ticket and
CD sales went to the Episcopal Relief and Development
Not Only a Mozart Anniversary
Parthenia’s 2005-06 season
will kick off with a celebration of the 400th anniversary of Tobias Hume’s publication of the First Part of
Ayres. Baritone Thomas
Meglioranza will join the
ensemble in a program
called “A Soldier’s Resolution: Music from the time of
Cpt. Tobias Hume.”
In honor of the 200th
anniversary of the death of
Luigi Boccherini, Lyra
Baroque Orchestra will
present a November concert
with guest artist Raffaella
Milanesi (soprano) featuring
Parthenia
8
Fall 2005 Early Music America
three arias, two symphonies,
and a scene by the Italian
composer.
Les Voix Humaines will
celebrate its 20th anniversary season with a Montreal
concert series called “Angels
and Devils.” Viol virtuoso
Wieland Kuijken and soprano Suzie LeBlanc will join
the duo, composed of viola
da gambists Susie Napper
and Margaret Little, for
select concerts.
What began with Sarah
Bernhardt’s performance of
Racine’s Phèdre, a benefit for
the Emergency Relief Fund
after San Francisco’s
1906 earthquake and
fire, has become,
100 years later, the
acclaimed presenting program Cal
Performances. The
Bay Area presenter
will celebrate its centennial season with a
year of special events,
including special
concerts in its
Music Before
1850 series.
Scheduled to perform are
recorder player Horacio
Franco, Sequentia, Yukimi
Kambe Viol Consort, the
Bach Collegium Japan, and a
concert by the Tallis Scholars celebrating the 500th
anniversary of the birth of
their namesake.
Philharmonia Baroque
Orchestra will begin its sil-
ver anniversary season in
September by offering an
opera on its subscription
series for the first time.
Nicholas McGegan, himself
celebrating 20 years as music
director of the group, will
conduct Handel’s 1736
opera Atalanta. This year,
Philharmonia Baroque is
launching a new partnership
with Magnatune to distribute the group’s live concert
recordings by means of the
Internet.
Other presenting groups
celebrating anniversaries this
year include Kansas City’s
Friends of Chamber Music
(30th anniversary) and the
San Diego Early Music Society (25th anniversary).
fund of St. Augustine’s Episcopal Church in Wilmette, IL.
Festivals &
Workshops
The 33rd Aston Magna
Festival opened with a Spanish zarzuela by Sebastián
Durón. Guest director
Richard Savino oversaw the
production of Salir el amor del
mundo, which featured sopranos Roberta Anderson,
Nancy Armstrong, and Jennifer Ellis, mezzo-sopranos
Laurie Monahan and Debra
Rentz-Moore, and baritone,
guitarist, and percussionist
Paul Shippers. Aston Magna
artistic director Daniel Stepner led the chamber
orchestra.
Accademia d’Amore
Baroque Opera Workshop
relocated to Seattle this year
from its previous home in
Bremen, Germany. Artistic
director Stephen Stubbs, a
Seattle native, moved the
workshop in anticipation of
his own permanent move
back home next year. With
the assistance of the Early
Music Guild, Stubbs offered
the workshop and its culminating concert at Seattle
Pacific University in August.
Highlights of the 12th
Bloomington Early Music
Festival included ARTEK’s lat-
est project “I’ll Never See the
Send Us Your News!
Sound Bytes Winter 2005
Deadline: September 26
Sound Bytes tries to cover early
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Early Music America Fall 2005
9
A NEW VOICE IN
EARLY MUSIC RECORDINGS
CARL
CARL PHILIPP
PHILIPP EMANUEL
EMANUEL BACH
BACH
TRIO SONATAS
Karen Flint, Director
O H ! T HE SWEET D ELIGHTS
OF
LOVE
Henry Purcell, Thomas Chilcot
& Johann Christian Bach
BRANDYWINE
BAROQUE
Karen Flint, director
Julianne Baird, soprano
Laura Heimes, soprano
Tony Boutté, tenor
WWW.PLECTRA.ORG
10
Fall 2005 Early Music America
Stars Again,” the Modus
Ensemble for Medieval Music
from Oslo, Norway, and an
evening with the Dodworth
Saxhorn Band.
An unpublished flute concerto in D by Johann Joachim
Quantz was recently performed at the Capitol Hill
Chamber Music Festival with
Baroque flutist Jeffrey Cohan
as the soloist. The Library of
Congress holds manuscripts
of four of Quantz’s flute
concerti, and last year’s festival included a performance of
the E Minor concerto from
the same collection.
Healing Muses (Eileen
Hadidian, recorder and
Baroque flute, and Maureen
Brennan, Celtic harp), a
group that brings soothing
music to Bay Area hospitals,
clinics, and convalescent
homes, presented a spring
workshop on “Healing with
Music” to a diverse group of
35 participants playing a variety of instruments, including
recorder, flute, viol, cello,
Celtic harp, and Finnish
folk harp.
Ron and Ruth Moir, the
Moir Fortepiano Duo, presented two workshops in
June at the “Art of Teaching”
conference held at the Royal
Conservatory of Music,
Toronto. They addresssed
piano teachers from all parts
of Canada, introducing them
to both harpsichord and
fortepiano performance
practices.
Audiences traveled the
world with the SoHIP concert
series this summer, hearing
music from the Low Countries, the palazzi of Venice,
the salons of Paris, and the
tumultuous battlefields of the
English Civil War. The concert series was presented in
Moir Fortepiano Duo
Weston, Ipswich, and Boston
and featured Cut Circle,
Duo DoubleAction, Très,
Amphion’s Lyre, La Donna
Musicale, and Seven Times
Salt.
The Tudor Choir performed with members of the
Tallis Scholars in the opening
concert of the week-long
Tallis Scholars Summer
School, held for the first time
in the U.S. at Seattle University in July. A second concert at
the end of the week featured
participants in Renaissance
motets and chants under the
direction of Peter Phillips.
Early Opera
Bowling Green Opera
Theater (Ohio) will present
Pietro Francesco Cavalli’s Gli
Amore d’Apollo e di Daphne in
November. Stage direction
will be provided by Ron
Shields, musical direction by
Emily Freeman Brown, and
Paul O’Dette will serve as
guest artist and performance
practice coach.
City Concert Opera
Orchestra of San Francisco
presented Christoph Willibald
Gluck’s Il Parnaso confuso in
Italian, accompanied by period instruments, this August.
Gluck wrote the serenata
teatrale for four of Empress
Maria Teresa’s daughters, evidently quite accomplished
singers (the fifth was Marie
Antoinette). In this produc-
tion, Mitzi Weiner (Apollo),
Carole Schaffer (Melipomene), Rita Lillay (Euterpe),
and Elspeth Franks (Erato)
filled the daughters’ roles,
while Gilbert Martinez provided continuo and Tom
Busse conducted.
The Early Music Guild of
Seattle produced John Blow’s
Venus and Adonis this past
February under the supervision of James Middleton,
stage director, and Fred
Hauptman, music director,
with choreography by Anna
Mansbridge. The performance drew on the talents of
more than 30 Northwest
artists, including 11 singers,
nine instrumentalists active in
various Seattle-based Baroque
ensembles, professional
dancers from Seattle Early
Dance, and student dancers
from the Creative Dance
Center. The opera was made
possible by much local support, including grants from
the Nesholm Family Foundation, PONCHO, the Seattle
Foundation, and ArtsFund, as
well as many generous
individuals.
Georg Philip Telemann’s
comic opera Don Quixote, The
Wedding of Comacho closed out
Mercury Baroque Orchestra’s
2004-2005 season – just in
time for the 400th anniversary of the publication of
Cervantes’s novel. Sung in
German with English surtitles, the opera featured Paul
Busselberg as Don Quixote
and bass-baritone Sam Handley as Sancho Panza. Kate
Pogue served as stage director and Antoine Plante conducted the orchestra, choir,
and cast.
Brooklyn was the site of
The New York Continuo Collective’s semi-staged work-
shop production of Alessandro Leardini’s Psiche (libretto
by Diamante Gabrielli).
Grant Herreid directed the
opera, while coaching was
provided by Paul Shipper
(gesture) and Pat O’Brien
(musical). Over 34 performers lent their talents to the
May production.
Les Voix Baroque, in collaboration with Early Music
Vancouver, I Confidenti
Berlin, SRC Montréal, and
the Montréal Baroque Festival, produced and coordinated a staged version of Antonio Caldara’s La Conversione di
Clodoveo re di Francia. The oratorio scenico is based on the
conversion of Clovis, the
fourth-century king of
France. Performances took
place in Montréal, Berlin, and
Vancouver and featured an
all-star Canadian cast (Suzie
LeBlanc, Nathalie Paulin,
Allyson McHardy, and
Matthew White), the instrumental team from Les Voix
Lofty Imprecision
Is it a good idea to perform well?
That is, after all, why we rehearse,
and it would be a rare occasion on
which performers made a special
effort to be uncoordinated, out of
tune, or not together in spirit or in
detail. And yet, that seems to be
what was recommended to practitioners of early music by Bernard
Holland in a recent review published in The New York Times.
(Never mind what the performance
was….) At the end of the review,
Holland wrote, “These may have
been just the kinds of scratchy
semiprofessional conditions that
Beethoven in the 1820s had to
deal with himself. Early-music period practice at its purest? Who
knows?”
The issue is whether
Beethoven—and by extension
other listeners at other times and
places in the past—ever heard the
kind of spiffy, perfectly-detailed
performance we are accustomed to
hearing from our top symphony
orchestras, piano virtuosi, and the
like. If, as Holland seems to suggest, that level of perfect coordination was seldom or never achieved
in those days, and if early music
folk want to re-create the sounds
of the past, it should be part of
their job to provide a sort of fuzzy
and inaccurate performance in the
name of authenticity.
There’s a lot to be said here,
and I won’t say it all. I can begin
with my friend who prefers hearing
performances by amateur rather
than professional string quartets,
claiming that you hear the individual instruments much more clearly
when the ensemble isn’t perfect.
This may be part of saying that
perfection of detail in performance
may sometimes lead to a lack of
things that make music live in the
doing of it.
Another thing to be said is
that early music, whatever it is,
The issue is whether
Beethoven ever heard
the kind of spiffy,
perfectly-detailed
performance we are
accustomed to.
attracted many of us because it is
music that we can perform. Lots of
Medieval music, lots of Renaissance
ensemble music, indeed quite a lot
of Baroque chamber music, can be
performed by players of moderate
ability; there’s not the huge gap
between virtuoso and amateur that
widened in the 19th century. We
can all be glad of that; the players
who entertain us are people like
ourselves—tomorrow, we may
entertain them.
I should say, too, that in a
sense I’m on the record as agreeing with Mr. Holland. In a book
called First Nights: Five Musical
Premieres (shameless self-promotion: Yale University Press, paperback version available), I wondered
about the quality of the first performance of Beethoven’s Ninth
Symphony. “The impracticability,”
wrote one reviewer, “of devoting
sufficient time to the number of
rehearsals that were necessary in
order to do justice to music which
is at once new, and of so lofty a
character, made it impossible to
give it with that precision, and
with those delicate shades of forte
and piano, which are required to
do them justice.” I pointed out
that most concerts of orchestral
music were one-off events, underrehearsed by our standards, played
by pickup orchestras—and yet
that’s what they did, that’s what
seems to have suited them, and
audiences kept coming. There must
have been some fantastic sightreaders in those days.
Writing about how one listened to music in a time like that,
when one heard lots and lots of
new music, though in a familiar
style, I said, “Listeners tolerated a
foreground of imprecision in order
to see the artistic vision. They
were not merely listening to the
EARLY MUSIC
MUSINGS
by
Thomas Forrest Kelly
performance but listening through
it to the music itself.”
I still believe that. But does
that mean that in order to be early
musicky we should build in a fair
amount of imprecision? Surely not.
We should always try to perform as
well as we can. We will often come
up short, anyway, without half trying to do so. But what we can
agree on, I’ll bet, is that if we strive
for perfection, we may well achieve
something we don’t want, and
that if we strive to be in the
moment, expressive, and beautiful,
we can’t go far wrong.
,
Thomas Forrest Kelly is a
professor of music at Harvard
University and a board member
and past president of Early
Music America.
Early Music America Fall 2005
11
MUSIC BEFORE 1800
ŒŒŒŒŒŒŒŒŒŒŒŒŒŒ
31st Season 2005-2006
Œ
October 2
October 16
November 6
November 20
December 4
January 29
February 12
February 26
Lionheart
Sequentia
Galatea
Rebel
The Choir of Corpus
Christi Church
Hilliard Ensemble
Cello Recital
Jaap ter Linden
Pomerium
According to the New York Times, “The
Music Before 1800 concert series…has long
offered the most varied and consistently
satisfying programs in New York.”
Sunday afternoon concerts at
Corpus Christi Church
529 West 121 Street, New York City
www.mb1800.org ΠBox office/fax 212 666 9266
concerts@mb1800.org
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12
Fall 2005 Early Music America
Baroque, music director
Alexander Weimann, Canadian stage director Guillaume
Bernardi, and German set
designer Cristina Jachinsky.
Publishing News
Oxford University Press’s
Musica Dei donum, a new early
music series edited by Sally
Dunkley and Francis Steele,
aims to present hidden gems
of the Renaissance choral
repertoire. Each edition will
offer clear, clean modern
notations, with accompanying
notes by pre-eminent performers and performance
scholars in the early music
field.
The British High Court of
Appeals upheld last year’s ruling that copyright royalties
are due to musicologist
Lionel Sawkins for the use of
his editions of the 18th-century French composer
Michel-Richard de Lalande’s
works for a Hyperion label
recording entitled Music for the
Sun King. Hyperion faces a
legal bill of up to £1 million
as Sawkins was awarded legal
costs for both the initial trial
and the appeal as well damages, the amount of which
has yet to be determined.
Cool Concerts
In April, La Favoritte
Early Music Ensemble presented “Remembering Peggie
Sampson (1912-2004): A Life
in Music.” A renowned viola
da gambist, Sampson performed with Quatre en concert and was a mentor to the
Canadian early music community and a historical performance pioneer.
The New York Baroque
Dance Company’s performances at the Potsdam
Sanssouci Music Festival in
June included a private concert for President Horst
Koehler of Germany and the
2005 Nobel Laureates. Artistic director Catherine Turocy
and her company presented
three new works as well as
Handel’s ballet Terpsichore.
Last spring, Baroque violinist Stanley Ritchie, in a celebration of his 70th birthday,
presented a program entitled
Stanley
Ritchie
“Four Seasons and More” as
a benefit concert for the
Bloomington Early Music
Festival.
In May, various sites in
Chicago heard “The Musicians of Venus and Mercury,”
a program featuring an exciting sextet of shawms, recorders, lutes, and viols – the
loud winds of Mercury and
the soft strings of Venus.
Musicians included the Newberry Consort’s Mary Springfels and David Douglass, Piffaro’s Grant Herreid and Tom
Zajac, and guest artists Craig
Trompeter and Debra Nagy.
Pacific Camerata (San
Diego, CA), under the direction of Danielle Ratelle, presented “The Cathedral City
of Puebla,” an evening of
music featuring Juan Gutiérrez de Padilla’s Missa Ave
Regina for two choirs, as well
as selections by Juan de Araujo, Juan del Encina, and
Hernando Franco.
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