12-08 Amherst Early Music Festival
Every year, this dynamic fourteen day festival fills Connecticut College in historic New London, CT with the sounds of early music. The festival routinely works with the leading musicians in the field of early music, and presents a series of concerts, workshops and classes for festival attendees. Amherst offers classes in all things early music, including instrumental and vocal instruction, as well as classes about Renaissance and Baroque dance and early notation. The festival hosts the largest recorder program in the United States.
Learn more here: http://www.amherstearlymusic.org/
Zacara da Teramo: Gloria (Loren Ludwig, Mary Springfels, Joris van Goethem, and Brent Wissick)
Vivaldi: Concerto in D minor from Estro Armonico opus 3, #8, RV 522 (The Flanders Recorder Quartet: Bart Spanhove, Tom Beets, Joris Van Goethem, Paul Van Loey)
Giovanni Paolo Cima: Sonata a 4 (Joris van Goethem, Dana Maiben, Sarah Cunningham, Myron Lutzke, Peter Sykes)
Benedetto Marcello: Sonata V à 3 for cello, viol, and continuo (Sarah Cunningham, Myron Lutzke, Arthur Haas)
Tarquinio Merula: Canzon ‘la Lusignuola’ (Flanders Recorder Quartet)
Alessandro Stradella: Sinfonia for violin, violone, and continuo (Dana Maiben, Sarah Cunningham, Arthur Haas)
Hayne van Ghizeghem: Amours, amours (Flanders Recorder Quartet)
Heinrich Isaac: E qui le dira (Flanders Recorder Quartet)
Johannes Stockem: Helas ce n’est pas (Flanders Recorder Quartet)
Anon.: Dit le burguygnon (Flanders Recorder Quartet)
Henry VIII: Pastime with Good Company (Julianne Baird, Lawrence Rosenwald, Flanders Recorder Quartet)
Henry VIII: Though Some Saith (Julianne Baird, Lawrence Rosenwald, Flanders Recorder Quartet)
Anon.: Gallarde de Royne d’Escosse, Wie Sal Mijn Troetelen, Gallarde Belle Qui Vas Martirant (Nigel North, Douglas Freundlich, Chris Morrongiello, Philip Rukavina)
Cristóbal de Morales: Apostole Christi Jacobe and Kyrie from Missa Super fa re ut fa sol la (Faculty of Amherst Early Music Festival)
Anon: Estampita (Flanders Recorder Quartet)
Vivaldi: Chamber Concerto in D, P. 155 Il Gardellino (Christopher Krueger, Dana Maiben, Washington McClain, Myron Lutzke, Arthur Haas)
George Frideric Handel: Venti turbini from Rinaldo (Julianne Baird, Washington McClain, Meg Owens, Dana Maiben, Sarah Cunningham, Myron Lutzke, Anne Trout, Arthur Haas, Peter Sykes)
Longa Farahfaza (Riyad al-Sunbati)
Encore: Draganovo (Nina Stern, Glen Velez, Ara Dinkjian)
Vivaldi: Sonata in G Minor for two oboes and continuo, RV 81 (Washington McClain, Meg Owens, Myron, Peter Sykes)
Listen to the whole show here:
Nina Stern is one of North America’s leading performers of the recorder and classical clarinet. In recent years she is also being hailed as an innovator in teaching school-age children to be fine young musicians. Ms. Stern performs regularly as soloist or principal player with prestigious ensembles such as The New York Collegium, New York City Opera, The New York Philharmonic, Concert Royal, Philharmonia Baroque, American Classical Orchestra and Boston Baroque, She has also appeared with Amsterdam Baroque Orchestra, L’Orchestra della Scala (Milan), I Solisti Veneti, Hesperion XX and Taffelmusik. Ms. Stern is currently on the faculty of the Mannes College of Music where she directed the Historical Performance Program from 1989 to 1996. Ms. Stern also serves as Director of Education for the New York Collegium, where she is co-founder of a successful hands-on music teaching project in inner city public school classrooms. This project involves instruction to entire classrooms on recorder and percussion, as well intensive after school instruction that includes classical guitar.
Five-time GRAMMY Award winner, Glen Velez is the founding Father of the modern Frame Drum movement and is regarded as a legendary figure among musicians and audiences world-wide. Velez brought a new genre of drumming to the contemporary music scene by creating his own performance style inspired by years of percussion and frame drumming studies from various cultures. Velez’s virtuosic combinations of hand movements, finger techniques, along with his original compositional style, which incorporates stepping, drum language and Central Asian Overtone singing (split-tone singing), has undoubtedly opened new possibilities for musicians around the globe, resulting in a shift in modern percussion. In 1989 Velez’s undeniable mastery caught the attention of twentieth century composer John Cage, who Composed a piece especially for him, titled ‘Improvisation for One-Sided Drum with or without Jingles.’ Adorned with a rich international artistic legacy his plethora of sounds have inspired decades of collaborations with an epic and eclectic list, including Steve Reich, the Paul Winter Consort, Suzanne Vega, Maya Beiser, Tan Dun and Pat Metheny.
Ara Dinkjian is best known as the founder of the highly influential and groundbreaking instrumental group, Night Ark, which recorded four CDs for RCA/BMG and PolyGram/Universal. His compositions have been recorded in thirteen different languages by top singers and musicians throughout the world (including Eleftheria Arvanitaki and Sezen Aksu), proving that music is indeed the international language. His hit “Homecoming” (“Dinata Dinata”) was performed at the closing ceremonies of the 2004 Athens Olympics. Ara Dinkjian is also considered one of the top oud players in the world. He was chosen to represent the Armenians in the international oud festivals of Jerusalem and Thessaloniki. Ara Dinkjian uses La Bella oud strings.
Christopher Krueger has performed as principal flutist with the Boston Symphony, the Boston Pops and Boston Pops Esplanade Orchestra, the Orpheus Chamber Orchestra, the Opera Company of Boston, Boston Ballet, Boston Musica Viva, and Cantata Singers, among other organizations, and was a founding member of the Emmanuel Wind Quintet, winners of the 1981 Walter W. Naumburg Award for Chamber Music. Currently he is a member of Collage New Music, Emmanuel Music, and performs frequently as principal flutist with Cantata Singers and other organizations in Boston. His career as a Baroque flutist has taken him throughout the United States, Europe, Eastern Europe, and Australia.
Anne Trout, bass, enjoys a varied repertory spanning four centuries of European and American music. She has served as principal bass, toured and recorded with the Handel & Haydn Society, the Boston Bach Ensemble, Boston Baroque and Emmanuel Music. She has worked with a diverse group of artists including conductors Roger Norrington, William Christie, Christopher Hogwood, Robert Shaw, Leonard Bernstein, choreographer Mark Morris, composers John Harbison, Aaron Copland, Lukas Foss and Joni Mitchell. She appears frequently with the baroque ensemble Rebel, and she is regularly engaged as part of the continuo team for soloists of international stature. Ms. Trout has appeared with ensembles ranging in size from five to fifty at many major US festivals and venues.
Meg Owens, instructor of oboe in the applied music program, owns eight oboes of various shapes and sizes and enjoys playing all of them. She performs with many Washington, DC area orchestras and local chamber music series. In demand as a performer on historical oboes, Ms. Owens appears regularly with some of North America’s major Baroque orchestras, including Tafelmusik, American Bach Soloists, Washington Bach Consort, Opera Lafayette, Rebel, Apollo’s Fire, National Cathedral Baroque Orchestra, Tempesta di Mare, Mercury Baroque, and the Magnolia Baroque Festival. She has recorded for the Naxos, Koch International Classics, and Eclectra labels. Hailing from Wilmington, North Carolina, Ms. Owens received music degrees from the University of North Carolina at Greensboro and the Manhattan School of Music, and holds the Doctor of Musical Arts degree from the City University of New York. Ms. Owens also teaches oboe at the Episcopal High School, and runs M3E, the contemporary music ensemble at George Mason University. Her major teachers include Ronald Roseman, Joseph Robinson, James Prodan, Washington McClain, and Randall Cook.
Washington McClain holds degrees in musicology and oboe performance from Northeast Louisiana University and a master in oboe performance from Northwestern University in Evanston, Illinois. A specialist on Baroque and Classical oboes, he has performed with many groups in the United States, including The City Musik (Chicago), Seattle Baroque Orchestra, Philharmonia Baroque Orchestra (San Francisco), Apollo’s Fire (Cleveland), Opera Lafayette (Washington, D.C.), and Washington Bach Consort. In Canada and Europe, Washington has performed with Tafelmusik Baroque Orchestra, serving as core oboist for seven years, Pacific Baroque Orchestra (Vancouver), The Netherlands Bach Society, and is currently principal oboist of l’Ensemble Arion in Montréal, Québec.
Nigel studied classical music through the violin and guitar, eventually discovering his real path in life, the lute, when he was 15. Basically self taught on the lute, he has (for over 30 years) developed a unique musical life which embraces activities as a teacher, accompanist, soloist, director and writer. Some mile stones on the way have included the publication of a continuo tutor (Faber 1987) and the release of the CD collection, “Bach on the Lute.” For over 20 years he was Professor of Lute at the Guildhall School of Music and Drama, in London; from 1993-1999 he was Professor at the Hochschule der Künste, Berlin; 2005-2207 he was Lute Professor at the Royal Conservatory in Den Haag , Netherlands, and since January 1999 Nigel North has been Professor of Lute at the Early Music Institute, Indiana University, Bloomington in the USA.
Douglas Freundlich (alto lute), launched his lute career in the 1970s with The Greenwood Consort, winning the Erwin Bodky Award and Musical America’s “Young Artist of the Year.” He has performed with the Boston Symphony, Boston Baroque, Swanne Alley, Emmanuel Music, Renaissonics, and others. He teaches lute at the Longy School of Music in Cambridge, MA, where he directed the Early Music Program in the 1980s. Doug has commissioned and performed many new works for the lute. He also cross-trains as a bebop bassist, catalogs music manuscripts at Harvard’s Isham Library, and teaches a popular course on music cognition at Tufts. He has recorded for the Telarc, Titanic, Revels, and Sine Qua Non labels.
Christopher Morrongiello (tenor lute), a former British Marshall Scholar, is a graduate of the Mannes College of Music, the Royal College of Music, and the University of Oxford. In 1996 the Marco Fodella Foundation awarded him a scholarship for studies at the Scuola Civica di Musica of Milan, and in 2006 the Lute Society of America conferred upon him the first Patrick O’Brien LSA Seminar Lectureship. An expert on Elizabethan and Jacobean music, Christopher is currently preparing an edition of Daniel Bacheler’s complete works for solo lute. His musical portrait of the Elizabethan muse and songstress Penelope Devereux, created for soprano Emily Van Evera (My Lady Rich, Avie 0045), has been greeted with much critical acclaim. Christopher directs the Bacheler Consort and teaches lute and related plucked-fretted instruments in Long Island, New York.
Phillip Rukavina performs nationally and internationally as a lute and vihuela soloist, ensemble performer, and as a continuo lutenist. Phillip is a founding member of the Venere Lute Quartet, the Chambure Vihuela Quartet, and the Terzetti Lute Duo. He is a regular guest instrumentalist with the early vocal group the Rose Ensemble and has performed with numerous singers and instrumental ensembles including the St. Paul Chamber Orchestra, the New World Symphony, soprano Carrie Henneman Shaw, and others. Phillip has been a regular member of the faculty at the Lute Society of America’s bi-annual Seminars at Case Western Reserve University in Cleveland, Ohio, and directed the event in 2008 and 2010. He has also directed the lute program at the Amherst Early Music Festival in New London, Connecticut in 2005, 2007, and 2009.
Lawrence Rosenwald is the Anne Pierce Rogers Professor of American Literature at Wellesley College, where he has been teaching since 1980. He has written extensively on American literary multilingualism, on translation, on nonviolence, and on diaries, and has done numerous translations from several languages. He has performed and recorded with Schola Antiqua, Pomerium, Christmas Revels, and Jubal’s Lyre, has written and performed numerous verse scripts for early music theater pieces all across the United States, and has been coaching singers on language and text at the Amherst Early Music Festival since 1984.
Loren Ludwig performs, teaches, writes about, and composes music. He is currently a Phd. candidate in the University of Virginia’s Critical and Comparative Studies in Music program, where he is at work on a dissertation about the social and ritual dimensions of amateur chamber music: ‘”Equal to All Alike”: A Cultural History of the Viol Consort in England, c.1550-1675′. He has presented papers at the AMS, SAM, and IASPM annual conferences and is a recipient of both a Fulbright and a Mellon fellowship. He is a founding member of the new wave viol consort “quaver” and performs music of the last six centuries on acoustic and electric viols. He is on the faculty of the Amherst Early Music Festival and Workshop, the Viola da Gamba Society of America’s annual Conclave, and numerous other festivals and workshops.
For most of her adult life, Mary Springfels had devoted herself to the performance and teaching of early music repertoires. She earned her stripes performing with many influential pioneering ensembles, including the New York Pro Musica, the Elizabethan Enterprise, concert Royal, and the Waverly consort. For 20 years she directed the innovative Newberry Consort, and can be heard on dozens of recordings. In 2006, Mary moved to the mountains of New Mexico, where she is active in the formation of an intentional community called the Wit’s End Coop. She continues to teach and perform extensively.
As one of the original members of Flanders Recorder Quartet he has performed extensively throughout Europe, Japan, South America, the United States, Taiwan, Singapore, South Africa and Korea. He made numerous recordings for radio and television and record companies as Aeolus, Deutsche Grammophon, Harmonia Mundi, EMI, Opus 111, Ricercar.
He has given seminars and masterclasses in all corners of the globe and has been tutor at various summercourses. His arrangements found their way to Hollywood (Tin Cup with Kevin Costner) and are also published with Heinrichshofen, Ascolta and De Haske.
Brent Wissick is the Zachary Taylor Smith Distinguished Term Professor in the Department of Music at UNC-CH, where he has taught cello, viola da gamba and chamber music since 1982. A member of Ensemble Chanterelle and principal cellist of the Atlanta Baroque Orchestra, he is also a frequent guest with American Bach Soloists, Folger Consort, Boston Early Music Festival, Concert Royal, Dallas Bach Society, Vancouver Early Music Festival and Collegio di Musica Sacra in Poland. With these ensembles has recorded for the Centaur, Albany, Koch, Radio Bremen, Bard and Dux labels as well as in the soundtrack for the Touchstone film “Casanova”. His online video article titled “The Cello Music of Bononcini” can be viewed in the peer-reviewed Journal of Seventeenth-Century Music” and several of his teaching videos are posted on the website of the Viola da Gamba Society of America. He served as president of that society from 2000 through 2004 and chaired its international Pan-Pacific Gamba Gathering in Hawaii during the summer of 2007.
Since its foundation in 1987, The Flanders Recorder Quartet has evolved into one of the world’s top ensembles. The ensemble’s success in 1990 at the prestigious Musica Antiqua Competition in Bruges, which is sponsored by the Flanders Festival, was the start of an extensive concert career. After more than 1800 concerts in 42 countries on five continents, including some in world-famous concert halls in Tokyo, New York and Salzburg, the ensemble has attained a prominent position in the world of Early Music. The ensemble also makes regular guest appearances at leading music festivals such as those in Helsinki, Paris, Geneva, Boston, Vancouver, Singapore, Taipei and Mexico City. Numerous prizewinning recordings have been made for record companies such as Harmonia Mundi, Archiv/Deutsche Grammophon, Ricercar, and OPUS III. In 2003 the quartet entered a long and intensive collaboration with the German label AEOLUS.
Violinist Dana Maiben, hailed by the Boston Globe for her “supremely joyous artistry,” is founding music director of Foundling Baroque Orchestra and Women’s Advocacy Project, now in its seventh season. Dana has earned international recognition for her performances of the 17th century violin and ensemble repertory as a founder member of the ground-breaking Concerto Castello, concertizing throughout Europe and North America and winning a nomination for the Deutsches Schallplatten Preis for their debut album, Affetti Musicali. In 2002 Dana launched a new ensemble for 17th century music, Concerto Incognito. She is also a founder member of the new 5-part string band, Quince, and frequently performs with her principal teacher, Dutch violinist Jaap Schroeder, and in duo with harpsichordist Arthur Haas.
Sarah Cunningham began her viol studies in 1969 in Boston. She honed her craft by working with Wieland Kuijken at the Royal Conservatory in The Hague. In 1981, she moved to London where she was active as a soloist and chamber musician and won world-wide recognition for her eloquent, expressive and communicative playing. She was a founder-member, with baroque violinist Monica Huggett, of the acclaimed Trio Sonnerie, with which she has made many recordings and toured on three continents. Sarah also serves as the Artistic Director of the East Cork Early Music Festival. She now teaches privately in London and Ireland, and gives courses and masterclasses in Sweden, Germany, Spain, Ireland, and the USA. Sarah also has an interest in other arts besides music and has collaborated with dancers, singers, story-tellers over the years. Currently she is writing an historical novel set in 6th century Ireland.
Arthur Haas is renowned throughout Europe and America as a peerless pedagogue and performer of Baroque and contemporary music. After receiving top prize in the 1975 Paris harpsichord competition, Mr. Haas remained in Paris from 1975 to 1983, performing in most major French early music festivals including le Festival Estival de Paris, Mai Musical de Bordeaux, and the Saintes Early Music Festival. Praised by Le Monde for his interpretation of French keyboard music, Professor Haas has recorded duo-harpsichhord music of Gaspard LeRoux with William Christie, solo CDs of music by D’Anglebert, Forqueray, and harpsichord music of the English Restoration. Prof. Haas is a member of the Aulos Ensemble and Musical Assembly, and has toured with such leading Baroque musicians as Marion Verbruggen, Julianne Baird, Stephen Preston, and Laurence Dreyfus. Much in demand as a teacher, Prof. Haas is a faculty member of summer early music music institutes in Berkeley, Amherst, and the Longy School of Music; he has also taught at the Eastman School and at Stanford University.
Myron Lutzke is well known to audiences as a ‘cellist on both modern and period instruments. He attended Brandeis University and is a graduate of the Juilliard School where he was a student Leonard Rose and Harvey Shapiro. Chamber music studies include work with Robert Koff, Eugene Lehner and Felix Galimir. He is currently a member of the St. Luke’ s Chamber Ensemble, Aulos Ensemble, Mozartean Players, Bach Ensemble, the Loma Mar Quartet, The Theater of Early Music and the Esterhazy Machine. He also plays with the Orchestra of St. Luke’s, American Classical Orchestra and the Handel and Haydn Society with Christopher Hogwood in Boston. He is currently on the faculty of Indiana University Early Music Institute and Mannes College of Music where he teaches period ‘cello and baroque performance practice.
Peter Sykes has appeared in recital for the American Guild of Organists, the Southeastern Historical Keyboard Society, the Organ Historical Society, American Institute of Organbuilders, International Society of Organbuilders, at the Library of Congress, Boston Early Music Festival, Aston Magna Festival, New England Bach Festival, Portland Chamber Music Festival, New Hampshire Music Festival, and with Ensemble Project Ars Nova, The King’s Noyse, Musica Antiqua Köln, Blue Heron, and throughout the United States, including an appearance in Boston’s Jordan Hall as a featured soloist in the Bank of Boston Emerging Artists Celebrity Series. He is frequently heard on the nationally syndicated radio program “Pipedreams.” He holds degrees from the New England Conservatory and Concordia University in Montreal. Sykes has also won many awards for his artistic achievements. Most recently, as of May 2011, he was honored by the St. Botolph Club Foundation with its Distinguished Artist Award, a major gift awarded annually to an artist who has demonstrated outstanding talent and an exceptional diversity of accomplishment. In demand as a teacher and mentor of aspiring professional performers, he is Associate Professor of Music and Chair of the Historical Performance Department at Boston University.
Julianne maintains a busy concert and recording schedule of solo recitals and performances of baroque opera and oratorio. With more than 125 recordings to her credit on Decca, Deutsche Gramophone, Dorian and Newport Classics, Julianne Baird is widely acknowledged as one of leaders in music of the 17th and 18th centuries. In addition to her major roles in a series of acclaimed recordings of Handel and Gluck operatic premieres, recent projects include a Carnegie performance of the lead role in La Giuditta of Alessandro Scarlatti with subsequent recording. Julianne Baird is recognized internationally as one whose virtuosic vocal style is firmly rooted in scholarship. Her book, Introduction to the Art of Singing (Cambridge University Press), now in its third printing, is used by singers and professional schools internationally. The Musical World of Benjamin Franklin (CD and Song Book) is published by The Colonial Institute.
Dr. Baird holds a Ph.D. from Stanford University and is a distinguished professor at Rutgers University.