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Awards & AccoladesTwo early music ensem-

bles received 2006 Philadel-phia Music Project Awards.Piffaro, The RenaissanceBand, will use its $30,000 tosupport two concerts – “TheReturn of the Pipers, Renais-sance Winds in Consort” and“The Bavarian Hofkapella, AWedding Celebration.” Tem-pesta di Mare, also the recip-ient of $30,000, will producea concert entitled “Hoshan-na,” featuring repertoire froman important period of Jew-ish culture during theEnlightenment. Two of theworks in the concert will beU.S. premieres. The Philadel-phia Music Project alsoawarded $23,660 to the WestPhiladelphia CulturalAlliance to produce a concerthighlighting the music ofFrancis Johnson (1792-1844),a bugle player and bandleader whose racially integrat-ed band performed a mix ofclassical and folk music inPhiladelphia and abroad.

AmericanBach Soloists’music directorJeffrey Thomaswas awarded aBellagio Fellow-

ship by the Rockefeller Foun-dation, providing a one-month residency at the Bella-gio Study and ConferenceCenter in Italy. During April2007, Thomas will work onhis book, currently titled Han-del’s Messiah: A Grand MusicalEntertainment.Harpsichordist and con-

ductor Lars Ulrik Mortensen

will receive the Léonie Son-ning Music Award 2007, aprize awarded annually to aninternationally acknowledgedDanish composer, musician,conductor, or singer.

New LeadershipThe American Bach

Soloists have appointed J.Jeff Badger to the positionof development director.Badger joins ABS from theSan Francisco Opera, wherehe was annual giving officer,direct marketing. He currentlysings with San Francisco Ren-aissance Voices, an ensemblehe co-founded.

Wind play-er, musicologist,and co-directorof CiaramellaAdam KnightGilbert has been

chosen to succeed JamesTyler as director of the earlymusic program at the Univer-sity of Southern California’sThornton School of Music.Gilbert will be responsiblefor the Baroque Sinfonia andCollegium ensembles and willdevelop new ensembles basedon historical improvisationaltechniques.

Mark Powellis leaving hisposition asEMA’s directorof marketing toserve as PortlandBaroque Orchestra’s firstdirector of development andmarketing. This newly-createdfull-time staff position wasmade possible with combinedthree-year capacity buildinggrants totaling $210,000 from

the Meyer Memorial Trustand the Paul J. Allen FamilyFoundations. Powell will workclosely with executive directorTom Cirillo to increase budg-et capacity and create oppor-tunities for expanded out-reach and educational pro-grammingThe Academy of Ancient

Music has appointed harpsi-chordist Richard Egarr asmusic director to succeedfounder Christopher Hog-wood, who will assume thetitle of emeritus director.Egarr has been serving asassociate director of theensemble.

Firsts & LastsThe Boston Early Music

Festival and the MorganLibrary & Museum haveannounced the inaugural sea-son of Early Music at theMorgan at the newly renovat-ed Morgan Library & Muse-um. This three-concert seriesinitiates a collaborationbetween the Morgan andBEMF to bring world-classearly music performers toNew York City. The initialseason will feature The Flan-ders Recorder Quarter, Krist-ian Bezuidenhout, and theduo of Paul O’Dette andEllen Hargis.

Benjamin Bagby has cre-ated a website

(www.bagbybeowulf.com)devoted to his performanceof the epic Beowulf. Visitorscan find background infor-mation, photos, and news ofperformances.

Musica Antiqua Köln willdisband at the end of 2006,taking a last American tour inNovember to New York,Chicago, San Diego, LosAngeles, and Berkeley.Founder Reinhard Goebel,who had retrained himself asa left-handed violist in theearly ’90s after being affectedby focal dystonia, will contin-ue his career as a conductor.Reinhard Strohm, John

Butt, and Ruth Tatlow haveformed Bach Network UK,with Lawrence Dreyfusrecently joining as a trustee.The organization haslaunched a web journal,Understanding Bach, and invitesearly music aficionados andprofessionals to participate inthe dialogue that it generates(www.bachnetwork.co.uk).Membership is free.Fresh from its debut at the

Washington Early Music Fes-tival in D.C., the BaroqueBand, featuring Garry Clarkeand Timothy Haig on violins,with Alice Robbins on cello,will make its Chicago debutin October and November,giving four lunchtime cham-ber concerts in the Chicago

4 Fall 2006 Early Music America

Tempesta di Mare

Compiled by Angela Fasick

Early Music America Fall 2006 5

Temple in association withthe Silk Road TheaterProject’s presentation of Car-avaggio. The concerts willfocus on music from Romeand Naples during thepainter’s time.The first annual Hot

Springs Baroque Workshoptook place in April at theSymes Hotel in Hot Springs,MT. Organized by flutistKatherine Skinner, it includedmusicians from San Franciscoand Seattle as well as Mon-tana. Between workshopevents, participants enjoyedsoaking in the hot pools.

Musicians of the Old PostRoad has added violinistChristina Day Martinson toits lineup. Born in Saskatch-ewan, Martinson has twicebeen a national finalist andprizewinner in the CanadianMusic Competition. She willjoin the group for their open-

ing concert in October atEmmanuel Church inBoston: “Bach’s BrandenburgPlus Four.”

Muso (“The MagazineThat Rewrites the Score,”according to its website) isthe first magazine dedicatedto classical music to feature a“Classical Centerfold.” Aimedat young professional musi-cians, students, and classicalmusic aficionados, the maga-zine offers features on cours-es and careers as well as newsof competitions. Muso(www.muso-online.com) isavailable in both a UK and aUSA/Canadian edition.

Recording NewsBoston Baroque closed its

2005-2006 season with a rareperformance of Cherubini’sRequiem in C Minor and fol-lowed the performances withrecording sessions for Telarc.

FACULTYFrances Conover Fitch, chair, harpsichord

Phoebe Carrai, Baroque cello

Michael Collver, cornetto, voice

Kinloch Earle, Baroque violin

Douglas Freundlich, lute

Stephen Hammer, Baroque oboe

Jane Hershey, viola da gamba

Sonja Lindblad, recorder

Dana Maiben, Baroque violin

Laurie Monahan, voice

Ken Pierce, period dance

Jean Rife, natural horn

Andrew Schwartz, Baroque bassoon

Daniel Stillman, Renaissance winds

Peter Sykes, harpsichord, fortepiano

Anne Trout, Baroque bass/violone

Historical Performance inAmerica’s early music capital

RECENT STAGED PRODUCTIONSDido & Aeneas (Purcell)

Cupid & Death (Locke & Gibbons)

Le Bourgeois Gentilhomme & Ballet des Nations (Lully)

Actéon (Charpentier)

L’Euridice (Peri)

Cephale et Procris (Jacquet de la Guerre)

OTHER RECENT PRODUCTIONSOrdo Virtutum (Hildegard)

Abendmusik (Buxtebude, Schütz, et al.)

English Madrigals (Dowland & contemporaries)

La Stavaganza (18th-century string music)

French Baroque Music and Dance

FOUNDED 1915

p

pOffice of AdmissionsLongy School of MusicOne Follen StreetCambridge, MA 02138

617–876–0956 [email protected]

PROGRAMS AVAILABLEArtist Diploma

Master of MusicGraduate Performance Diploma

CONTACT

Lorraine Hunt Lieberson

Mezzo-soprano Lorraine HuntLieberson died in Santa Fe, NM, onJuly 3 at the age of 52. Born in SanFrancisco to a music teacher (herfather) and a singer (her mother),Hunt Lieberson was trained as aviolist at the Boston Conservatoryand only began to focus on hercareer as a vocalist after her viola wasstolen in 1988. Singing often with Craig Smith and theEmmanuel Music in Boston, she went on to perform a widerange of repertoire with other artists whom she admired. Theseincluded several key figures in the early music community,including Nicholas McGegan and the Philharmonia BaroqueOrchestra (with whom she recorded a number of Handel operasand oratorios for Harmonia Mundi), William Christie and LesArts Florissants, and the Handel and Haydn Society of Boston,also recording with the Orchestra of the Age of Enlightenmentand the Freiburg Baroque Orchestra. Married to composer PeterLieberson, Hunt Lieberson’s last appearances, during a Marchtour with the Boston Symphony Orchestra, featured the singerperforming her husband’s Neruda Songs, a song cycle based onfive love poems by the Chilean writer Pablo Neruda.

“Lorraine Hunt Lieberson’s new recording of Cantata 82...isbeautiful enough to stop a war...”—Alex Ross, The New Yorker.


Commissioned by the re -stored monarchy to com-memorate the anniversary ofthe execution of Louis XVIand Marie Antoinette, theRequiem soon became one ofthe most popular choralworks of its kind. It wasgreatly admired by Berlioz,Schumann, Brahms, andBeethoven. The disc will bereleased in January 2007 butwill be available to concertgo-ers at Boston Baroque’s per-formances this December.

The Caecilia-Concertreleased its debut CD, Treas-ury of a Saint, a collection of17th-century pieces for cor-netto, trombone, dulcian,harpsichord, and organ. Per-formers include Fiona Rus-sell, AdamWoolf, WouterVerschuren,and New York-born KathrynCok.

Fretwork celebrated its20th anniversary by com-memorating the 500thanniversary of the death ofAlexander Agricola withChansons, an album of Agri-cola’s secular songs andinstrumental works. The CDwas released by HarmoniaMundi in August. In May, the Los Angeles

Chamber Singers & Cappella(Peter Rutenberg, musicdirector) released Padilla: Sunof Justice, a CD featuring themusic of Juan GutiérrezPadilla, “the New World’sfirst great composer.” Theproject received support fromthe NEA. The Warner Classics label

is being folded into into theadministration of Rhino,Warner Music Group’s reis-sue division. Warner Classics,however, will continue to

release new recordings anddevelop its catalogue, whichincludes Teldec Classics andErato Disques and which fea-tures a number of prominentearly music groups. The com-pany said, “We do not expectthe changes that have takenplace...to change the supportgiven to the impressive Warn-er Classics catalogue or theanticipated new releases thatare generated by the UKrepertoire company. Weremain committed to classicalmusic and look forward tocontinuing to pioneer newways to bring our content toconsumers going forward.”Inspired by her time in the

Arkansas Ozarks with the tra-ditional singer Almeda Rid-dle, Marsha Genensky con-ceived Gloryland, a new CDthat sees a re-united Anony-mous 4 joining forces withnew-grass singers DarolAnger and Mike Marshall.The repertoire focuses on therich songbook of traditionalAmerican folk music. TheCD is set for release in September.

Summer SuccessIn early June, Victoria, BC,

played host to a conference atChrist Church Cathedral.Entitled “J.S. Bach and Cen-tral/Southern EuropeanInfluences,” the event wasprompted by the installationof a new four-manual Hel-muth Wolff organ at thecathedral. The four-day con-ference also celebrated theinfluence of Harald Vogel onNorth American organ cul-ture. Activities includedkeynote papers, concerts andrecitals, a high tea, a masterclass with Edoardo Belotti,and a final gala concert bythe CapriCCio Vocal ensem-

Cok

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ble with orchestra, directedby Michael Gormley and withCarole Terry on organ.Four of the six programs

presented by the AstonMagna Festival at Bard Col-lege (NY) this summer cele-brated the Mozart anniver-sary. Works performedinclude Eine kleine Nachtmusik,Exsultate Jubilate, Bastien undBastienne, the String Quartetin A Major, the Viola Quintetin G Minor, Il rè pastore, theAdagio and Rondo for glassharmonica, string, and winds,and selections from The MagicFlute. The Bloomington Early

Music Festival celebratedMozart’s 250th birthday withMay performances of hisopera Il rè pastore. TheBLEMF orchestra played late18th-century instruments forthe first time in 2006. Also inIndiana this summer, theIndianapolis Early MusicFestival hosted “From Sea toShining Sea,” honoring the230th anniversary of thenation’s founding. Audienceswere treated to concerts byBaroque Northwest, the Bal-timore Consort, NewOrleans Musica da Camera,Albuquerque Baroque, andNew York State Baroque. The Baltimore Consort

also took part in The Madi-son Early Music Festival inWisconsin, where they werejoined as guest artists-in-resi-

dence by Chatham Baroque,Ex Umbris, The Ivory Con-sort, and Piffaro. The Julyfestival’s theme this year was “Early Music from theIberian Peninsula.”Celebrating its 15th

anniversary season, Apollo’sFire made its debut at theAspen Music Festival inAugust. These concerts fol-lowed a series of perform-ances of a rustic Renaissancemusical entitled BartholomewFaire, created by music direc-tor Jeannette Sorrell andinspired by the early 17th-century play of that name byBen Johnson. In October, theorchestra will make its NewYork City debut at the MillerTheater of Columbia Univer-sity.In Washington State, the

Cascade Early Music Festivaldevoted three concerts toMozart and one to Bachbefore coming to a close witha Grand Baroque Ball. Thesix-day festival featured per-formers Oleg Timofeyev,Anna Mansbridge, GeorgeShangrow, Jeffrey Cohan,Nancy DiNovo, StephenCreswell, and Martin Bon-ham and also offered work-shops under the theme


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Wednesday, November 29, 2006 7:00 pm

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The 2006/07 SeasonANDREW PARROTT, Music Director

The cast of Bartholomew Fair,the rustic Renaissance musicalcreated by Apollo’s Fire musicdirector Jeannette Sorrell.

“Music as Discourse.”The Cooperstown Cham-

ber Music Festival (NY)included two concerts featur-ing early music repertoire thisyear: Bradley Brookshire’srecital of harpsichord worksby J.S. Bach and “If Music Bethe Food of Love,” anevening of Baroque arias andsonatas featuring Brookshire,soprano Amy Burton, violada gambist Sarah Cunning-ham, and flutist Linda Chesis. Ontario was home to the

Grand River Baroque Festivalin June, with two days ofconcerts by the AradiaEnsemble and Musica Franca,including one celebrating theMozart anniversary throughperformances of ExsultateJubilate and Symphony No.40. The sold-out final concert

of the Live at Mission Blueseries in April, called “FourCellos” and featuring JoanJeanrenaud (formerly of theKronos Quartet), Alex Halley,Joanna Blendulf, and WilliamSkeen, was recorded forbroadcast on local publicaccess TV. Executive directorKevin Fryer reports that aDVD of the concert will beavailable in the San Mateo(CA) library system’s newlyestablished early music collection.The Magnolia Baroque

Festival, now in its secondyear, presented six concertsto audiences in Winston-Salem, NC, this June. Afterthe Friday night offering,“Dance of the FrenchBaroque Theater,” interestedconcertgoers were invited to“Le Bal Masqué,” where theycould follow Paige Whitley-Baugess’s lead in severaldances.The Montreal Baroque

Music Festival celebrated twoanniversaries with “Marais1656, Mozart 1756.” TheJune extravaganza featuredtwo concerts series, freeevents, educational activities,parades, a Baroque fair, circusacts, children’s shows, a malesoprano (Michael Maniaci inthe concert “Mozart AMilano I: Una FestaTeatrale”), a glass harmonicarecital (by Dean Shostak), andnewly edited suites fromMarais’s opera Sémélé per-formed for the first timesince the 17th century by LaBande Montréal Baroque andle Studio de musique anci-enne de Montréal, directed byWieland Kuijken.The Society for Historical-

ly Informed Performance(SoHIP) celebrated its 20thanniversary with a spring-summer early music concertseries featuring Ensemble Trident, Newton Baroque, La Donna Musicale, SevenTimes Salt, Cut Circle, andAmphion’s Lyre. All concertswere presented three times: in Weston, Ipswich, andBoston, MA.


Cléa Galhano

SOUNDbytes

Across the PondThe 2006 Festival of the

Two Worlds in Spoleto, Italy,featured the modern worldpremiere of a Vivaldi operathat has gone unperformedfor 283 years. L’Ercole su’l Ter-modonte, which made its pre-miere in Rome in 1723, wasrevived in a productionfeaturing Alan Curtis leadingIl Complesso barocco. The Arcadia Players spon-

sored a tour to the IstanbulMusic Festival in June. WalterB. Denny, professor of arthistory at the University ofMassachusetts, led the expe-dition to Turkey, where thegroup attended festival con-certs featuring the BaselChamber Orchestra (con-ducted by Christopher Hog-wood), Le Concert d’Astrée(conducted by Emman uelleHaïm), Il Giardino Ar -monico, William Christie’sLes Arts Florissants, andKammerphilharmonic ofBremen.

Mark Kroll played a recitaland gave a lecture in Rome atthe Academia Santa Caeciliaon their 1815 Clementi pianothat, Kroll says, “they tell me,they bought in... 1815.” Hegave a class and concert inKrakow at the Music Acade-my, then a solo harpsichordrecital at the Handel House inLondon. Kroll and his wife,violinist Carol Lieberman,also played in Paris.Recorder player Cléa Gal-

hano will give her secondrecital at Wigmore Hall inLondon. Dutch harpsi-chordist Jacques Ogg will joinher for the September con-cert, entitled “Arte deSuonare: Virtuoso Worksfrom Early to High Baroque.”Galhano will also be per-forming and teaching at theSecond International Con-gress on the RecorderOrchestra (LCRO), to take

place this October in Leiden.The conference will focus onthe 400th anniversary ofRembrandt’s birth.

Tafelmusik completed atwo-and-a-half week, four-country European tour inMay of this year, performingconcerts in Germany (threeperformances at the 55thGerman Mozart Festvialunder the baton of BrunoWeil), England (LufthansaFestival of Baroque Music),Spain (Festival de MúsicaAntigua in both Barcelonaand Arjanuez), and Por -tugal (Centro Cultural deBelem).

Liber unUsualis represent-ed American early musicians

at the York Early Music Festi-val in England. The trio performed “Virtue and Viper: Italian TrecentoMusic from the Court of theVisconti.”

Cool ConcertsThe New York Colleg ium’s

spring bill of fare featuredTelemann’s Donner-Ode, com-posed in commemoration ofthe 1755 earthquake and


Since we spend so much of ourtime listening to music we

already know, we often think atleast as much about the perform-ance as about the music; ratherthan saying “That’s an interestingtrio sonata, better than that lastone,” we say, “I prefer Bernstein’s‘Jupiter’ Symphony to Toscanini’s.”Of course, the symphony is notactually Bernstein’s or Toscanini’s.

Or is it? Some music may bechanged by its performance morethan other music. Are there piecesthat are safe in the hands of badperformers, pieces that will comethrough even if things aren’t quiteright? Or, put another way, isthere music that really needs agood performance for the music to seem like anything at all?

My first thought is that com-plex polyphonic pieces, providedthat the notes are there, can be fol-lowed and appreciated even if theperformance is not very spiffy. ABach fugue or one of WilliamByrd’s involved instrumental fan-tasies is so carefully crafted that, ifwe get hooked on the intricacies ofthe counterpoint, we might forgetabout everything else.

There are other pieces thatlook, and might feel, like nothing—until they are brought to life in per-formance. A lot of it is dancemusic; there are gavottes and sara-bandes by Lully and others that

look very slight indeed but soundlike a million bucks on the instru-ments of an ensemble that knowshow to make them dance.

Is it possible that Bach doesn’ttrust us, that Byrd doesn’t trust us,that they are making, in a sense,foolproof music? (Forgive me, violconsorts and keyboard artists, Idon’t really mean to be calling any-body a fool.) Does Lully have more

confidence in the artistry of hisinterpreters than Bach?

There is improvised music thatexists only when it’s being per-formed; the question of “valueadded” in performance doesn’tarise, since there is nothing to addto. Organists have been trained tomake such music and have done sofor centuries—including Bach-likefugues and Byrd-like polyphonicfantasias. Continuo players are in asense breathing life into music thatexists only in part until they play it.Improvised music, complex or sim-

ple, can be good or bad dependingon the performer. We may haveheard organ improvisations thatknock our socks off and others inwhich a player simply noodlesaround aimlessly for the requiredamount of time. We’ve heard con-tinuo playing that feels unbeliev-ably alive, responsive, and expres-sive and other moments that ruinthe best efforts of a solo singer orinstrumentalist.

The music that relies most onthe player is not necessarily weakermusic—it’s just music in which thecomposer has more confidence inthe performers than music writtento be failsafe. If you can play a Byrdfantasia, people will enjoy it. Butthey will only enjoy a Muffat suiteif you can dance it.

Thomas Forrest Kelly is a professorof music at Harvard University anda board member and past presi-dent of Early Music America.

by Thomas Forrest Kelly

EARLYMUSIC

MUSINGS

Composers Who Trust Performers

Music that relies moston the player is notnecessarily weaker

music—it’s just musicin which the composerhas more confidence in

the performers.

Liber unUsualis


tsunami victims in Lisbon.The concert also included the Ode to St. Cecilia fromHandel’s Alexander’s Feast.Andrew Parrott directed the performance.

Mercury Baroque (Hous-ton, TX) and the DominicWalsh Dance Theater collab-orated on a new ballet set tomusic by Vivaldi. Walsh pro-vided the choreography, whileAntoine Plante ar ranged andconducted the May debut ofRomeo and Juliet.Also in May, New Trinity

Baroque (Atlanta, GA) andSt. Philip Cathedral Scholapresented a joint concert,“Welcome to All the Pleas-ures,” featuring compositionsby Henry Purcell: the Cha-cony in G Minor, two odesfor Saint Cecilia’s Day, andsuites from theatrical plays(Abdelazer, or The Moore’sRevenge and The Indian Queen).The Church of Saint Luke

in the Fields (NY) ConcertSeries presented The WesternWind in “Yellow Star at theCourt of Mantua, ItalianMadrigals and HebrewPsalms by Salamone RossiHebreo (c.1570-c.1630).” TheWestern Wind singers areKristina Boerger and LauraChristian, soprano; WilliamZukof, countertenor; ToddFrizzell and Richard Slade,tenors; and Elliott Z. Levine,baritone. David Shuler ac -com panied the vocalists onharpsichord.

Season News:PresentersIn the months leading up

to the 2007 Boston EarlyMusic Festival, the BEMFconcert series will present theFlanders Recorder Quartet,the Amsterdam BaroqueOrchestra and Chorus,

Matthias Maute and KristianBezuidenhout, GiulianoCarmignola and the VeniceBaroque Orchestra, TheTallis Scholars, Trio Medieval,and the Boston Early MusicFestival Orchestra and Cho-rus. The centerpiece produc-tion of the 2007 Festival,under the direction of PaulO’Dette and Stephen Stubbs,will be Lully’s Psyché. SopranoCarolyn Sampson (GreatBritain) will take the title role.and soprano Karina Gauvinwill play Venus. The Da Camera Society

of St. Mary’s College (LosAngeles, CA) will include fiveearly music groups in itsChamber Music in HistoricSites series: Ensemble européenWilliam Byrd, Ciaramella,Tapestry, the MillenniumConsort, and the Academy ofAncient Music.Seattle’s Early Music Guild

will celebrate its 30th anniver-sary with performances byLes Boréades de Montréal,The Tallis Scholars, Ciaramel-la, The Netherlands BachSociety, Jordi Savall, and afully staged production ofMonteverdi’s L’incoronazione di Poppea.

Early Music Now

Send Us Your News!Sound Bytes Winter 2006Deadline: September 25

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.

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SOUNDbytes


THE Departmentof Historical Performanceat BOSTON

UNIVERSITYSCHOOL OF MUSIC

MM. DMA. AD.

Boston Baroque, Resident Ensemble

(Milwaukee and Madison,WI) will celebrate its 20thanniversary season by high-lighting American ensembles:The Newberry Consort, Spir-itus Collective, The WaverlyConsort, The Baltimore Con-sort, Tempesta di Mare, andLionheart.

Friends of ChamberMusic in Portland, OR, willbegin a new Vocal Arts Seriesthis season headlined byJulianne Baird and the AulosEnsemble as well as Chanti-cleer. Under the baton of Lau-

rence Cummings, the Handeland Haydn Society will openits 2006-07 season with Mon-teverdi’s L’Orfeo, a co-produc-tion with the English Nation-al Opera. The modern stag-ing, directed by Chen Shi-Zheng, who also directed thesociety’s productions ofMonteverdi’s Vespers of 1610(2003) and Purcell’s Dido andAeneas (2005), involves 12Indonesian dancers fromJava. In January, the Bostongroup’s new artistic advisor,Roger Norrington, makes his debut conducting sym-phonies of Haydn. Otherconductors leading H&H for the first time will beEmman uelle Haïm and DavidStern.

Music Before 1800 willpresent eight concerts in NewYork City’s Corpus Christi

Church this season. Americanensembles Pomerium, TheBaltimore Consort, and thechurch’s choir are joined onthe roster by the Europeangroups Ensemble européenWilliam Byrd, Trio Medieval,The Hilliard Ensemble, Dial-ogos, and Jory Vinikour.The San Diego Early

Music Society has planned aninternational series for 2006-07 and has invited Galanterie,Ciaramella, Tapestry, LaRiche & Co., the Academy ofAncient Music, and MusicaAntiqua Köln to participate.

Season News:Performers

Boston Baroque’s 2006-2007 season will includeMozart’s Don Giovanni, Vival-di’s only surviving oratorio,Juditha triumphans, Beethovensymphonies, and Handel’sMessiah. In addition, theensemble will record Handel’sConcerti Grossi, Op. 6, Nos.

Craftsman Ronald Cook’s“Quasimodo” rebec will be dis-

played in By the Hand, a nationaljuried exhibition of traditional

and innovative craft held in Wal-nut Creek, CA, in September.

Cook, of Coog Instruments, is amember of the American CraftCouncil and the Association ofStringed Instrument Artisans.

SOUNDbytesContinued from page 10


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and Montreal’s Opera Atelierwill create an innovative fea-ture film based on Mozart’sThe Magic Flute. The film willfeature Warren Christie (Bat-tlestar Galactica, The L-Word),Daniel Kash (The ShippingNews, Due South), and accom-plished opera performersMireille Asselin, OlivierLaquerre, and Erin Windle.The film will be shot usingCGI technology, using a vir-tual set. (Videos of the film-ing and recording are postedat the company’s web site:www.sullivanmovies.com.)

Philharmonia BaroqueOrchestra (San Francisco,CA) will partner with MarkMorris Dance Group and CalPerformances for a fullystaged production of HenryPurcell’s King Arthur. PBOwill also perform its first

commission, a 20-minutecantata, based on the myth ofPersephone and orchestratedfor Baroque instruments bycomposer Jake Heggie.

Tafelmusik’s 2006-07 sea-son will celebrate two mile-stones: Jeanne Lamon’s 25thanniversary as music directorand the 25th anniversary ofthe Tafelmusik ChamberChoir under the direction ofIvars Taurins. The season willopen in September with ajoint concert with Tafelmusikand Arion Baroque Orchestra(under Jaap ter Linden) per-forming music written fortwo orchestras.

Tempesta di Mare will cel-ebrate its fifth anniversary byperforming 18th-centuryHebrew cantatas, world pre-mieres of music by JohannFriedrich Fasch, and neworchestrations for chamberensemble of the six Bachorgan trios.

paired with haiku by JackKerouac) and a “BaroqueCabaret” staged by Sheli Nanas a showcase for some ofher shorter works as well asthe premiere of act one ofher opera SAGA-Portrait of a21st Century Child.Other fringe concerts,

coordinated by the San Fran-cisco Early Music Society,were typical of the rich vari-ety experienced by attendees.The Pacific Collegium’s pro-gram of motets from thecourt of Louis XIV, King ofFrance, benefitted from theconfident soprano of ToniaD’Amelio and the depend-able baritone of Tom Hart,not to mention the last-minute substitution of well-known countertenor PaulFlight. Musical Tapestry’sprogram of Renaissance andtraditional music from the

British Isles took advantageof Susan Rode Morris’s greatway with a song and theevident collegiality among in -stru mentalists Eileen Hadidi-an, Shira Kammen, Julie Jef-frey, and David Morris.Other events adding to the

Festival atmosphere were anEarly Music Elderhostel atthe Hidden Valley Institute ofthe Arts, a symposium called“Early Music as PopularMusic” organized by ScottEdwards of the UC Berkeleydepartment of music, withdirectors David Douglass(King’s Noyse), VincentDumestre (Le Poème Har-monique), and Skip Sempé(Capriccio Stravagante), and,of course, EMA’s Confer-ence, “The Early MusicEntrepreneur,” supportedwith a grant from theNational Endowment for theArts (see box). – Benjamin Dunham

Berkeley FestivalContinued from page 12

soundbytes · soundbytes awards & accolades two early music ensem-bles received 2006...

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