4 Fall 2008 Early Music America

OPERAS • Alcina, Radamisto • Händel • Dido and Aeneas • Purcell • Les sauvages • Rameau • La Calisto • Cavalli • Il ritorno d’Ulisses in patria • MonteverdiCONCERTS • Vespers of 1610 (complete) • Monteverdi • German vespers of 1600 • Schein, Scheidt, Praetorius • Music for voices & viols • Dowland & ByrdENSEMBLES • McGill Baroque Orchestra • Cappella Antica • Viol consort • Recorder consort • Sackbut ensemble • Trios, Quartets & Chamber Ensembles

Admissions Office • Schulich School of Music of McGill University555 Sherbrooke Street West • Montréal, Quebec, CANADA H3A 1E3

Tel.: 514-398-4546 Fax: 514-398-8061

w w w . m c g i l l . c a / m u s i c

Canada’s �nest university music program, in a world-class educational and research institution.

Located in downtown Montréal, one of North America’s most beautiful and vibrant cities.

Degrees o�ered: BMus, MMus, DMus, LMus, ADip

Comprehensive professional training in Early Music performance.

Early Musica t M c G i l l

Kenneth Gilbert Adjunct Professor, Organ & HarpsichordChantal Rémillard, Hélène Plou�e Baroque ViolinHélène Plou�e Baroque ViolaSusie Napper Baroque CelloBetsy MacMillan Viola da GambaClaire Guimond Baroque & Classical FluteMatthias Maute, Natalie Michaud RecorderBruceHaynes, Matthew Jennejohn Baroque OboeMathieu Lussier Baroque BassoonDouglas Kirk Cornetto & Historical Brass

Dominique Lortie SackbutJohn Grew OrganWilliam Porter Organ, ImprovisationHank Knox Harpsichord & ContinuoTom Beghin FortepianoSylvain Bergeron LuteValerie Kinslow, Sanford Sylvain VoicePeter Schubert Early Music �eoryJulie Cumming Musicology

“A resounding success.” – Opera news

Venus and Adonis by John Blow

Actéon by Marc-Antoine Charpentier

Paul O’Dette and Stephen Stubbs, Musical DirectorsGilbert Blin, Stage Director

Lucy Graham, Choreographer • Anna Watkins, Costume Designer

Amanda Forsythe as Venus • Tyler Duncan as Adonis • Aaron Sheehan as Actéon

Saturday, November 29, 2008 at 8pmNew England Conservatory’s Jordan Hall

Buy your tickets today at WWW.BEMF.ORG or 617-661-1812!

Don’t miss our thrilling 2009 operatic centerpieceby Christoph Graupner,

featuring Holger Falk and Gillian Keith.

June 8–14, 2009 in Boston, MA • June 19–21, 2009 in Great Barrington, MA

Amanda Forsythe

Tyler Duncan

Aaron Sheehan

Early Music America Fall 2008 5

soundbytesCompiled by Angela Fasick

Appointments & AwardsJosé Verstappen, the exec-

utive director of Early MusicVancouver for more than 25years, was recently awarded an Order of Canada for his“contributions to thepromotion and vitality ofearly- period music in BritishColumbia” and his showcas-ing of Canada within theinternational early music community. The Order ofCanada is Canada’s highestcivilian honor for lifetimeachievement.

American Bach Soloistshas appointed John Thiessenas executive director. Wellknown as aBaroquetrum peter,Thies sen hasappeared withTafelmusik,PhilharmoniaBaroque Orchestra, BostonEarly Music Festival, andBoston Baroque and hastaught Baroque music semi-nars at Oberlin College andthe Longy School of Music.

Apollo’s Fire, the Cleve-land Baroque Orchestra,added the position of manag-ing director and hired Jacque-line Taylor, the former execu-tive director of the ChamberMusic Society of LincolnCenter, to fill it. Taylor wasalso managing director of the92nd Street Y’s Tisch Centerfor the Arts and remainsactive in the New York artscommunity. She will maintaina dual-city career in Clevelandand New York.The Boston Early Music

Festival has engaged Gilbert

Blin as its first stage directorin residence. Blin’s appoint-ment comes following hissuccessful direction of the2007 BEMF opera, Lully’sPsyché, and his 2001 BEMFcollaboration on Lully’s Thésée. The Radcliffe Institute for

Advanced Study at HarvardUniversityselectedLauryGutiérrezas one of52 fellowswhose proj-ects will besupported by the institute in2008-09. Gutiérrez, founderand director of La DonnaMusicale, will develop therepertory of music composedby Italian women into concertand educational programs forperformance and professionalrecording.The Renaissance &

Baroque Society of Pitts-burgh named Elizabeth Etteras its new executive director.Etter has a doctorate in harp-sichord performance fromthe Cleveland Institute ofMusic and founded anddirected the Summer MusicFestival at Allegheny College.

REBEL violinist Karen MarieMarmer recently received the Aaron Copland School ofMusic’s annual John CastelliniSilver Jubilee award for distinguished alumna.

Laurent Planchon, a nativeof Strasbourg, France, and adesign automation managerfor a semiconductor compa-ny, is the new executive direc-tor of the San Diego EarlyMusic Society. Planchon’swork with Kemer Thomsom

for the San Diego Harpsi-chord Society led formerSDEMS artistic director VeraKalmijn to recruit him for theposition after her retirement.

Andrew Fouts (San Rafael,CA) and Johanna Novom(Cleveland Heights, OH) tiedfor first place while MarcLevine (Islip, NY) took thirdplace in the American BachSoloists & Henry I. GoldbergInternational Young ArtistsCompetition for BaroqueViolinists. Brandi Berry(Bloomington, IN), DianaLee-Planès (Bayonne, France),and Aisslinn Nosky (Toronto,Canada) were also finalists inthe competition, part of theBerkeley Festival (see photoon page 41).

Anthony Rowland-Joneshas been elected as an hon-orary vice president of TheSociety of Recorder Players,based in Great Britain.

Clifford H. Rust is the new

director of finance andadministration for the Handeland Haydn Society. Rust hassignificant experience inaccounting, management, andmusic and has been a memberof Handel and Haydn chorusfor 15 years.The British Broadcasting

Corporation named harpsi-chordist Mahan Esfahani asone of its New GenerationArtists.This pro-gramoffersopportu-nities forsolorecitals atWigmoreHall and across the U.K.,appearances and recordingswith BBC orchestras, specialstudio recordings for BBCRadio 3, appearances at theProms at Royal Albert Hall,and collaborative ventures

The XVI International Johann Sebastian Bach Competition Leipzig2008 ended with a prize winners’ concert on July 19 at St. ThomasChurch. Altogether, 95 musicians from 23 countries competed inthree categories. The Hungarian/American Bálint Karosi, 29, won theorgan division, followed by Ilpo Laspas from Finland and LukasStollhof from Germany. German soprano Marie Friederike Schöderwon the first prize in voice, followed by Austrian Margot Oitzingerand bass Jens Hamann, also from Germany. In the category violon-cello the first prize went to Philip Higham, UK; Davit Melkonyanfrom Armenia, and Toru Yamamoto from Japan shared second prize.

with EMI Classics. Spanish viola da gambist,

conductor, and composerJordi Savall and his wife,soprano MontserratFigueras, were namedUNESCO (United NationsEducational, Scientific andCultural Organization) Artistsfor Peace. Savall and Figueraswere honored “for their out-standing musical commitmentto intercultural dialogue andtheir contribution to further-ing UNESCO’s ideals.”

AnnouncementsREEBBEELL has been chosen as

one of a small group ofclassical performers/organ -izations that will partner withAmerican Public Media, thenation’s leading classicalmusic broadcaster, to revisethe editorial model of its syn-dicated programs PerformanceToday and SymphonyCast.In July, Philharmonia

Baroque Orchestra ratified itsfirst-ever five-year contractfor the services of its profes-sional musicians affiliatedwith the American Federationof Musicians. The agreementis the result of a year’s worthof negotiations in partnershipwith a five-member represen-tative committee from theorchestra; it provides pay rais-es of 18.5% over five years,including pension benefitsand hiring guarantees for theorchestra’s 32 core memberpositions.The Orchestra of St.

Luke’s has announced thecreation of a new musicresource center for New YorkCity. Located at 450 West37th Street, the DiMennaCenter for Classical Music isnamed after St. Luke’s boardmember Joseph DiMenna andhis wife, Diana, who made a

$5 million leadership gifttowards the project. In addi-tion to providing a home forOSL, the center will offerrehearsal and recording facili-ties for other New Yorkensembles.

Piffaro, the RenaissanceBand, is running its secondrecorder competition forplayers between the ages of12-19 in grades 9-12. Finalistswill compete live in Philadel-phia in January 2009, with thewinner performing at the Pif-faro concert at the AmericanRecorder Society Festival, totake place in late July/earlyAugust in St. Louis, MO.The Boston Early Music

Festival has announced its2009 operatic centerpiece:Antiochus und Stratonica, withmusic by Christoph Graupner(1683–1760) and libretto byBarthold Feind (1678–1721).Paul O’Dette and StephenStubbs will continue as musi-cal directors with Gilbert Blinas stage director and setdesigner, Lucy Graham aschoreographer, Anna Watkinsas costume designer, andLenore Doxsee as lightingdesigner. Holger Falk will playthe role of Antiochus andGillian Keith will headline asStratonica. Performances willtake place in June in Bostonand Great Barrington, MA.

Steinway Musical Instru-ments has acquired ArkivMu-sic, the online retailer of clas-sical music recordings. Arkiv-Music sells over 90,000 titles,including thousands of previ-ously out-of-print recordingsproduced “on-demand.”

New endeavorsDaniel Abraham and his

Bach Sinfonia presented themodern premiere of HeinrichBiber’s Stabat mater in Silver

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6 Fall 2008 Early Music America

Springs, MD, in May. TheLatin text describing Mary’ssorrows during Jesus’s Cruci-fixion had previously notbeen performed for about300 years.On June 7 at the Halle

Handel Festival, Martin

Haselböck, music director ofMusica Angelica in LosAngeles and Vienna’s Orch -ester Wiener Akademie, per-formed the modern-day pre-miere of Johann SebastianBach’s Fantasia sopra il Corale“Wo Gott der Herr nicht bei uns haelt, (designated BWV1128) an organ work recentlydiscovered by German scholars. With the publication of

Sonata BWV 1033, BartholdKuijken’s new edition ofBach’s flute sonatas for Bre-itkopf & Härtel is finally com-plete. As with BWV 1020 and1031, Kuijken questions

Bach’s authorship and evensuspects that each movementof the short sonata mighthave been written by a differ-ent composer. Kuijken willsoon be applying his expertiseto the trio sonatas BWV 1038and 1039.Argippo, a lost opera by

Antonio Vivaldi, was per-formed in Prague for the firsttime in 278 years after Czechharpsichordist Ondrej Macekdiscovered the score in Ger-many. According to the BBC,Argippo, set in an Indianmaharaja’s court, is a tale of“passion, love, and trickery.”Macek used arias from other

Vivaldi works to fill in themissing third of the work.The Berkeley (CA)

Baroque and BeyondFestival, held in June, offeredthe world premieres of newworks for violin, harpsichord,Baroque guitar, and voice.Performers included AndrewFouts, Jonathan Davis,Zachary Gordin, Sheli Nan,Richard Savino, Meghan Dib-ble, and Ayelet Cohen.Period composer Grant

Colburn recently completedhis fourth book of all newBaroque harpsichord music.The book, Suits or Setts of Les-sons for the Harpsichord or Spin-

Just the other day I had someovernight guests, friends andtheir friends. One of the group, itturned out, is a scholar who isworking on the early musicmovement, especially as it relatesto the 1960s in America. Shewas surprised, I think, to find outthat I had actually been alivethen and had quite a lot to tellher about Boston in those days:the Camerata, the beginnings ofBEMF, the Cambridge Society forEarly Music with its big concertsand the Bodky award, the CastleHill Festival, the activities ofAston Magna, the pioneeringinstrument-makers. She was alsointerested in the many otherways I had been involved withearly music, through WellesleyCollege, the Five College EarlyMusic Program, the Oberlin His-torical Performance program,EMA, and so on. So she asked ifshe could interview me officially,and we sat down to talk.One of the things that came

up as we discussed early music isthe extent to which it is a sort ofbranch of ethnomusicology. As ascholar of Medieval chant, I am

pretty much used to the ideathat in Medieval music we arestudying a culture not our own,a music that was transmittedorally, and that we need to takeit seriously on its own terms,often using the methods of ethnomusicology, to be able tosee and understand what liesbefore us. A big differ-

ence, however,is that whereasthe ethnomusi-cologist visitsthe culture andgathers infor-mation frompeople who par-ticipate in it, we can’t. For theMedievalists, what we have ismanuscripts—a big irony, isn’t it,that we have to study oral trans-mission exclusively through writ-ten documents. In a way, early music in gen-

eral is a form of ethnography,but with the same limitations.We have to work from a combi-nation of documents and experi-ence; we have surviving scores,we have a few surviving instru-

ments, and we have a few peo-ple who wrote about music. Andwe have to piece it all together.You might define early music

as music whose performing tra-dition is by definition lost; it ismusic of another culture. Thereare teachers in conservatorieswho claim they studied violinwith so-and-so, who studied

with so-and-so,all the way backto, I dunno, Vival-di or Corelli. Andmaybe so, butthere is not muchevidence of acontinuous stylis-tic tradition; more

likely what happens is that thehypothetical teacher will thinkthat all music should be playedin the same way. Our early music view is that

each piece of music gets playedits way. What that means is thatwe have to discover for ourselves(or we did in the 1960s anyway)what that way might be. Sothere’s a general sense of theother, of the study of the art ofanother culture, and that’s what

engages the attention of seriousearly music people. We have to take the music

seriously, we have to listen verycarefully, and we have to becareful not to impose our ownesthetic on music from anotherculture until we can really makeit our own as participants. That’snot to say that we aren’t allowedto like some pieces better thanothers (there’s one place wherewe do set ourselves apart frompure ethnomusi cologists), butwe must be very careful not tojudge as outsiders what wedon’t fully understand.

Thomas Forrest Kelly is a professor of music at HarvardUniversity and a board memberand past president of Early MusicAmerica.

Early Music America Fall 2008 7

by Thomas Forrest Kelly

EARLYMUSIC

MUSINGS

Cultural Rhythms

You might define early music as musicwhose performing

tradition is bydefinition lost; it is music of

another culture.

Daniel Abraham

net, takes its inspiration fromEnglish keyboard music ofaround 1720.In September, Quire

Cleveland, a professional acappella group with a reper-toire taken from the lateMedieval, Renaissance, andBaroque eras, will make itsdebut in a free concert inCleveland, OH. Music direc-tor Peter Bennett (of CaseWestern Reserve University)will conduct the ensemble of18, whose name is the 16th-century spelling of choir.

Sinfonia New York, anew orchestra formed in2007, performed Mozart’sDivertimento for Strings in D(K. 136) and Serenade forWinds in C Minor (K. 388) aswell as Haydn’s SymphonyNo. 83 in G Minor (“Lapoule”) at the Society forEthical Culture (NYC) inMay. In keeping with its mis-sion to make concerts free toas many as possible while alsoearning income from ticketsales, the orchestra tried aninnovative ticketing plan, ask-ing patrons who were able tocontribute financially to cul-tural organizations to pay afixed sum in advance thatwould guarantee a good seat,those on limited incomes topay a smaller sum, also inadvance, that would guaranteea mezzanine seat, and offer-ing free tickets on the day ofthe event on a first come, firstserved basis.

Cool concertsThe final concert of

Philadelphia Baroque orches-tra Tempesta di Mare’s 2007-08 season celebrated JohannFriedrich Fasch’s 250thanniversary with modern pre-mieres of three concerti andan orchestral suite by the

composer. Barbara Reul, president-elect of the Inter-national Fasch Society, spoketo audiences before the performances. The University of

Arkansas department ofmusic presented “WomenComposers of the 17th and18th Centuries,” a studiorecital featuring works pub-lished by UA professor emeri-ta Barbara Jackson in Clar-Nan Editions. The April con-cert was performed bystudents (freshman throughgraduate) of Janice Yoes.

Armonia Nova performed“A World Lit by Fire: theVisionary Music of Hildegardvon Bingen,” as part of thefourth season of the Wash-ington Early Music Festival inJune 2008. Constance White-side, director and co-founderof the festival, created a pro-gram highlighting Hildegard’sextraordinary musical, poetic,and visual legacy. In a pre-concert lecture, Anonymous 4member Jacqueline HornerKwiatek provided per for -mance insight supported byilluminations projected on the church venue’s vaultedceilings.

Ars Lyrica Houston(Matthew Dirst, artistic direc-tor) closed its 2007-08 seasonat the Hobby Center for thePerforming Arts with“Duelling Divas,” featuringsoprano Melissa Givens,countertenor Gerrod Pagen -kopf, tenors Randolph Lacyand Zachary Wilder, and bari-tones Brian Shircliffe andTimothy Jones. The high-spir-ited program of Baroquesinging contests featuredHandel’s Delirio amoroso andBach’s Phoebus and Pan, bothdramatized for the event, aswell as Bach’s Brandenburg

8 Fall 2008 Early Music America

BOOKINGS AND RECORDINGS:www.baroquelute.com207 766-2765

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SOUNDbytes

Early Music America Fall 2008 9

Concerto No. 2 in its first localperformance on periodinstruments. The Bach Collegium San

Diego concluded its fifth sea-son with two performances ofBach’s B Minor Mass led bymusic director Ruben Valen-zuela in collaboration withviolinist Pierre Joubert. Thismarked the first performanceof the mass in San Diegousing period instruments anda chamber chorus. The Lyra Baroque Orches-

tra closed its 23rd season inApril with two performances(in Rochester and St. Paul,MN) of Telemann’s cantataIno and his Ouverture in DMajor. Soprano Maria Jettewas featured soloist with theorchestra, which is directed byJacques Ogg.In March, Dutch recor -

derist Reine-Marie Verhagenjoined recorderist Rachel Beg-ley, harpsichordist Tami

Morse, and Baroque violinistMarc Levine at All SoulsChapel of St. Mark’s Episco-pal Church in Islip, LongIsland for a program of17th- and 18th-centuryinstrumental music by Han-del, Telemann, and masters ofthe French Baroque.Audiences in Boston and

Newton, MA, were treated toCappella Clausura’s renditionof Chiara Margarita Coz-zolani’s Vespers of 1650. Cap-pella Clausura was joined bytheorbist Catherine Liddelland Amphion’s Lyre.In July, Parthenia’s concert

at the Viola da Gamba Socie-ty of America’s 46th AnnualConclave featured selectionsfrom A Reliquary for WilliamBlake (music by Will Ayton).Soprano Ellen Hargis joinedthe consort for the July per-formance in Peterborough,NH. In April, Parthenia andEx Umbris presented “The

Queen’s Courtiers” in NewYork City. The concert fea-tured music from the age ofQueen Elizabeth I for viols,voices, violin, sackbut,recorders, percussion, andlute and included songs, ballads, and dances.

Cappella Romana present-

ed “Cyprus: Between GreekEast & Latin West” in Port-land and Seattle in May.Alexander Lingas directed theperformances, which offered16th- and 17th-century Cypri-ot repertoire, including Arssubtilior music found in a manuscript housed at the

MM, DMA in Historical Performance

Peter Sykes Department Chair; harpsichord, fortepiano,continuo, performance practice

Martin Pearlman Baroque orchestra, chamber ensembles, performance practice

Marilyn McDonald baroque violin Marc Schachman baroque oboe

Christopher Krueger baroque flute Laura Jeppesen viola da gamba

Jane Starkman baroque violin Robinson Pyle natural trumpet

Sarah Freiberg baroque cello Aldo Abreu recorder

Faculty of the Voice and Opera Departments

Boston University and Boston BaroqueAn Exciting Collaboration in Historical Performance Training

An equal opportunity, affirmative action institution.

Resident Professional Ensemble Boston Baroque providestraining, educational enrichment, and performance oppor-tunities for current students and graduates of the program.Students play and learn side-by-side with distinguished professionals.

For more information, contact: Tracy Rider, Director of Admissions 800-643-4796 617-353-3341cfamusic@bu.edu www.bu.edu/cfa

Will Ayton (left) withmembers of Parthenia

University of Turin. In July,Cappella Romana released its recording of the DivineLiturgy of St. John Chrysos-tom, sung in English toByzantine chant, and markedthe occasion with a formallaunch at the Greek Ortho-dox Archdiocese of America’sClergy-Laity Congress inWashington, DC.Baroque violinist Leah

Gale Nelson, organist Jen-nifer Griesbach, and theChoir of Saint Luke in theFields presented “The Glori-ous Mysteries: Music ofHeinrich Ignaz Franz vonBiber” in New York City in May. David Shuler, directorof music, conducted the performance.

The Orchestra of NewSpain (Dallas, TX) joined theMeadows Museum in offeringa concert inspired by an altar-piece originally located in Ciu-dad Rodrigo, Spain, and creat-ed by Fernando Gallego andhis workshop. The Renais-sance evening took place inJuly and featured music fromthe time of Queen Isabel andKing Fernando sung by a sex-tet of the orchestra’s vocalsoloists.In March and April, REEBBEELL

performed a program called“Irregular Pearls” for the SanDiego Early Music Society, St.Martin’s Abbey in Lacey, WA,Syracuse Friends of Music,the Hyde Museum in GlensFalls, NY, and the JoyfulNoise series in Stamford, CT.REBEL’s new disk, Corellisante,was the subject of a popularvideo on YouTube that wasawarded “Video of theWeek” on Classic FM TV inthe UK. REBEL’s co-director,violinist Jörg-MichaelSchwarz, gave two lec-ture/demonstrations at the

Metropolitan Museum of Artin New York this past spring,performing on three Stradsand an Amati from the muse-um’s historical instrumentcollection.

The Rose Ensemble’s Aprilprogram “Peace Among theNations,” explored Abraham’srole in Judaism, Christianity,and Islam through Latin andHebrew Biblical chant; Arabicchant from the Maronite tra-dition; Jewish para-liturgicalmusic from Morocco, Turkey,and Libya; nomadic dancesfrom the Bedouin communityof Southern Sinai; FlemishRenaissance motets; andHebrew chant from the Flo-rentine Sephardic community.On hand for the St. Paul(MN) performances wereRabbi Shoshana Dworsky ofCarleton College, FatherMichael O’Connell of theBasilica of Saint Mary, andImam Makram N. El-Amin ofMasjid An-Nur. Tom Crannof NPR’s All Things Consideredserved as moderator.In May, the Early Music

Guild (Seattle, WA) presentedthe Seattle Trumpet Con-sort’s CD release concert for After Baroque: Music for theNatural Trumpet.

Opera & OratorioIn May, the American

Opera Theater, with its resi-dent period instrumentorchestra Ignoti Dei and aninternational cast of youngsingers, presented the firstprofessionally staged produc-tion of Charpentier’s David etJonathas in the New World,doing so at Georgetown Uni-versity and the BrooklynAcademy of Music. The pro-duction was co-produced bythe Institute for LivingJudaism of Brooklyn and

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10 Fall 2008 Early Music America

made possible by a grantfrom the Geoffrey C. HughesFoundation. Timothy Nelsonand Adam Pearl shared musicdirector duties, Nelson actedas stage director, the VirginiaTech Chamber Singers sup-plemented the orchestra, andthe cast included Brian Cum-mings as David, RebeccaDuren as Jonathas, JasonBuckwalter as Saul, CraigLemming as Joabel, and FerrisAllen as Achis.In two June performances

in NYC and Madison, NJ,Robert W. Butts and theBaroque Orchestra of NewJersey performed the modernpremiere of the full originalversion of Alessandro Scarlat-ti’s oratorio La Giuditta. The1693 manuscript of the workwas discovered by Dr. Jude

Pfister, chief of culturalresources at the NationalPark Services (Morristown,NJ) in the Lloyd Smith Manu-script Collection housed inthe Washington HeadquartersMuseum. Butts edited thework and conducted the per-formances; the roles weresung by Marjorie Berg, JohnLamb, Daniel Foran, TeresaGiardina, and Mark Hewitt,and the orchestra was joinedby Harmonium Choral Society. In May at St. Luke’s

Lutheran Church (NYC) theNew York Continuo Collec-tive performed John Blow’sVenus and Adonis. Created bydirector Grant Herreid, theproduction also featuredmusic from Henry Purcell’sKing Arthur. The cast wascomposed of 14 singers andthree dancers, and stage direc-tor Paul Shipper choreo-graphed several dances. Theband featured lutes, Baroqueguitars, theorbos, harpsi-chord, gamba, dulcian,recorders, and a violin bandof six players under the direc-tion of Leah Nelson. PatO’Brien and Charles Weaverprovided instrumental coaching.Handel’s opera Orlando

had a successful run at the

Early Music America Fall 2008 11

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October 5 Marion Verbruggen with ensembleOctober 19 PomeriumNovember 2 Diabolus in MusicaNovember 23 Trio MediævalJanuary 11 Bradley BrookshireJanuary 25 REBELFebruary 15 Concerto PalatinoApril 19 Choir of Corpus Christi Church

According to the New York Times, “The Music Before1800 concert series ... has long offered the most variedand consistently satisfying programs in New York.”

Sunday afternoon concerts at Corpus Christi Church529 West 121 Street, New York Citywww.mb1800.org • concerts@mb1800.orgBox office 212.666.9266

Send Us Your News!Sound Bytes Winter 2008Deadline: September 24

Sound Bytes tries to cover earlymusic news and newsmakers ascompletely as possible, but wecannot publish every news item.All materials must include aname, date, and contact number.Send news to Sound Bytes,EMAg, 2366 Eastlake Ave. East,#429, Seattle, WA 98102; e-mail: emag@earlymusic.org(include “Sound Bytes” in subjectline). Digital photos may be sentby e-mail as 300 dpi TIFF or JPEG images in color or b&w.

Continued on page 56

The Rose Ensemble

56 Fall 2008 Early Music America

SOUNDbytesInternational Handel FestivalGöttingen in Germany.Nicholas McGegan conductedthe festival orchestra, Cather-ine Turocy provided stagedirection, and soloists includ-ed William Towers as Orlan-do, Dominique Labelle asAngelica, Susanne Rydén asDorinda, Diana Moore asMedoro, and Wolf MatthiasFriederich as Zoroastro.

Mercury Baroque and theDominic Walsh Dance The-ater presented a May per-formance of Henry Purcell’sDido & Aeneas in Houston.Conducted by Antoine Planteand choreographed by Walsh,the opera starred Krista Riveras Dido, Kade Smith asAeneas, Ana Treviño-Godfreyas Belinda, and Sonja Bru -zauskas as the sorceress. TaraFaircloth served as stagedirector.

Opera Lafayette per-formed “Treasures from theParis Opéra-Comique” inMay at the National Galleryof Art in Washington, DC.On the program: music fromPierre-Alexandre Monsigny’sLe Déserteur and FélicienDavid’s Lalla-Roukh. Thecompany will present themodern American premiereof Le Déserteur (in its entirety)

in Washington, DC, and NewYork City in January and February 2009.

On TourThe international ensem-

ble Lucidarium embarked onits fourth North Americantour in April, performing itsprogram “La Istoria dePurim: Music and Poetry ofthe Jews of Renaissance Italy”in Seattle (presented by theEarly Music Guild), SanDiego (as part of the ninthannual San Diego JewishMusic Festival), Tucson (incooperation with the ArizonaCenter for Judaic Studies andthe Tucson JCC), and Hous-ton (Houston Early Music).In 2004, this program won anaward from the EuropeanAssociation of Jewish Cul-ture; recently Lucidarium wona second award from theEAJC, as well as a grant fromthe Rothschild Foundation,for the creation and recordingof “Ain neues Lid,” a projectdedicated to the music ofGerman-speaking Jews in the16th century. During the summer, The

Rose Ensemble presented 25concerts in Italy and Franceas part of four internationalchoral festivals, performing

Continued from page 11

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Medieval French polyphony,Polish Renaissance motets,Sephardic songs, and tradi-tional Hawaiian music. Stopson the tour included La Fab-brica del Canto InternationalChoral Festival (Legnano,Italy), Festival Musique enMorvan (Burgundy, France),Festival des Choeurs Lauréatsin Vaison (Provence), andFestival d’Ile de France(Paris).

Boston Baroque will makeits debut at the internationalCasals Festival in Puerto Ricoin March 2009 performingtwo programs, the first prima-rily orchestral and featuringBach’s third orchestral suiteand E major violin concerto,with soloist Christina DayMartinson, and the WeddingCantata, BWV 202, withsoprano Amanda Forsythe.The second performance willoffer choral masterworksincluding Vivaldi’s Gloria andBach’s Magnificat.The British have taken to

New York City’s ClarionMusic Society. The periodorchestra was featured in BBCMusic Magazine and performedthree concerts in the inaugu-ral season of London’s KingsPlace. In the coming year, thegroup will present an all-Bachprogram at the Miller Theaterat Columbia University andmake its debut recording,under the direction of StevenFox, for release in the fall of2009.As the capstone of its 30th

anniversary season, Chanti-cleer presented “El CaminoReal: Chanticleer Travels theMission Road,” a program ofrepertory from the MexicanBaroque and New Spain pre-sented in nine historic Cali-fornia Missions, concluding atSan Francisco’s MissionDolores, the site of the veryfirst Chanticleer concert in1978.

Early Music America Fall 2008 57

Season Highlights: 2008-09AArrss LLyyrriiccaa (Houston, TX): concerts centered on themes of love, gender, and period (Rococo) are accompanied bya New Year’s Eve Bachanalia and a performance of Handel’s first oratorio, Il trionfo del Tempo e del Disinganno.BBaarrooqquuee CChhaammbbeerr OOrrcchheessttrraa ooff CCoolloorraaddoo (Denver): fourth season begins with a focus on the concerto grosso.Anchored with the timeless La Follia, this rich repertoire will be the basis for their first recording, with selectionsby Muffat, Corelli, Handel, Avison, and Geminiani. Purcell’s Dido and Aeneas will be performed in February.BBoossttoonn BBaarrooqquuee (MA): 35th anniversary season offers five programs, including Handel’s Xerxes (with malesoprano Michael Maniaci in the title role), Rameau’s opera-ballet Pygmalion, a French Baroque program withthe group’s commission of new modern dance choreography from Marjorie Folkman, and Haydn’s Requiem.BBoossttoonn EEaarrllyy MMuussiicc FFeessttiivvaall (MA): will present Collegium Vocale Gent with Kristian Bezuidenhout, Jordi Savalland Hespèrion XXI, the first performance in BEMF’s new chamber opera series (a double bill of John Blow’sVenus and Adonis and Marc-Antoine Charpentier’s Actéon, directed by Paul O’Dette and Stephen Stubbs), theVenice Baroque Orchestra with Giuliano Carmignola and Viktoria Mullova, Sarasa Ensemble with DominiqueLabelle and Michael Chance, Concerto Palatino with James David Christie, Petra Müllejans and KristianBezuidenhout, and The Tallis Scholars (in its 20th annual performance with BEMF).BBoouurrbboonn BBaarrooqquuee (Louisville, KY): will begin its season with “Thunder and Dance” and will work with localartists as well as guests from further afield. Among other performances, the group will offer Telemann’s DonQuichotte auf der Hochzeit des Comachos with the Kentucky Opera.CCaappppeellllaa RRoommaannaa (Portland, OR): The Heaven’s Declare, the ensemble’s 17th annual series, will feature musicfrom Ukraine, Byzantine chant, a nativity concert, and a collaboration with The Concord Ensemble.CChhiiccaaggoo EEaarrllyy MMuussiicc CCoonnssoorrtt (IL): will perform works from the 14th to the 17th centuries from France, Italy, andEngland over the course of its season, which will conclude in May with a live two-hour concert/interview onChicago’s 98.7 WFMT.CCllaarriioonn MMuussiicc SSoocciieettyy (New York City): a December program featuring Bach’s Christmas Oratorio and a concertin May exploring the musical riches at the court of Catherine the Great will be led by music director Steven Fox.EEaarrllyy MMuussiicc NNeeww YYoorrkk (New York City): will make a musical tour of colonial New England and the Austrian impe-rial court before concluding with “Concerts Spirituels: The First Public Concerts,” a program of music that mighthave been heard at the first concerts for the French bourgeoisie in 1725.EExxssuulltteemmuuss (Boston, MA): The period vocal ensemble will present three programs (“Polyphonic Puzzles,”“Thomas Tallis and the Transformation of the English Liturgy,” and “The Elvas Songbook: Portuguese SecularSong in the 16th Century”) and inaugurate a new Baroque series.HHaannddeell aanndd HHaayyddnn SSoocciieettyy (Boston, MA): Celebration 2009 will commemo-rate the 250th and 200th anniversaries of the deaths of Handel and Haydnwith an all-Handel program conducted by Harry Christophers; the society’s155th annual performance of Handel’s Messiah, led by Paul Daniel; andtwo Haydn programs conducted by Sir Roger Norrington, including a concert performance of Haydn’s opera L’anima del filosofo. The season toconclude with a performance of Haydn’s The Creation conducted by GrantLlewellyn and performed on Boston’s Esplanade.MMuussiicc BBeeffoorree 11880000 (New York, NY): will present Pomerium, Diabolus inMusica, Trio Medieval, Bradley Brookshire, REBEL, Concerto Palatino, andChoir of Corpus Christi Church during its 34th season.MMuussiicciiaannss ooff tthhee OOlldd PPoosstt RRooaadd (Waltham, MA): kicks off its 20th-anniver-sary season with “Feast of Delectable Discoveries,” an encore performanceof rediscovered works by Pla, Bodinus, Lotti, and Buffardin that will alsoinclude the addition of one or two new surprise works.NNeewwbbeerrrryy CCoonnssoorrtt (Chicago, IL): presents Musical Treasures of the Newberry Library, beginning in October with“Handel in Miniature” and continuing with Renaissance music celebrating Fat Tuesday, the arrival of spring inMedieval Florence, and the English fantasy of Arcadia.OOppeerraa AAtteelliieerr (Toronto, ON): extended-run performances of Mozart’s The Abduction from the Seraglio andMonteverdi’s The Coronation of Poppea, both with the Tafelmusik Baroque Orchestra.PPaarrtthheenniiaa (NY, NY): world premiere of composer/soprano Kristin Norderval’s “Nothing Proved,” a song cycle set-ting of the poetry of Queen Elizabeth I.PPhhiillhhaarrmmoonniiaa BBaarrooqquuee OOrrcchheessttrraa (San Francisco, CA): 28th concert season, Music Inspired by the Muse, toinclude 32 Bay Area concerts, tour performances at Carnegie Hall, participation in the St. Paul Chamber Orches-tra’s inaugural International Chamber Orchestra Festival, and a collaboration with the Mark Morris Dance Groupon Handel’s L’Allegro, il Penseroso ed il Moderato. TTaaffeellmmuussiikk BBaarrooqquuee OOrrcchheessttrraa aanndd CChhaammbbeerr CChhooiirr (Toronto, ON): marks its 30th anniversary with its CarnegieHall debut, the launch of a Master’s degree program at the University of Toronto, and the new program “TheGalileo Project: Music of the Spheres.” In addition, Tafelmusik has special programming planned to commemo-rate the Haydn bicentennial in 2009. VVooxx AAmmaa DDeeuuss (Philadelphia area, PA): will present a number of concerts with Baroque instruments, includingHandel’s Messiah and Judas Maccabeus and Vivaldi’s Four Seasons.WWaasshhiinnggttoonn BBaacchh CCoonnssoorrtt (DC): 31st season features works of Bach and Handel and a Christmas programincorporating seasonal works from around the world.

H&H has two eponymouscelebrations this year.