tag:blogger.com,1999:blog-81965742625283118872024-03-20T19:29:24.537-07:00Catacoustic NewsCatacoustic News is a blog about early music in Cincinnati, Ohio.Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.comBlogger147125tag:blogger.com,1999:blog-8196574262528311887.post-32726119073234315082018-05-29T12:32:00.001-07:002018-05-29T12:32:07.167-07:00The Instruments in The Coronation of Poppea with Cincinnati Opera and Catacoustic Consort<div style="background-color: white; font-family: Georgia, serif; font-weight: normal; line-height: 1.4em; margin: 0.25em 0px 0px; padding: 0px 0px 4px;">
The Catacoustic Consort is fortunate to collaborate with Cincinnati Opera in their second production of a Baroque opera - Claudio Monteverdi's <i>Coronation of Poppea</i><span style="color: #333333;">. (There are also members of the Cincinnati Symphony Orchestra in the pit playing modern violin, cello, and bass.) If you are interested learning more about Cincinnati Opera's summer season, visit Cincinnati Opera's <a href="https://www.cincinnatiopera.org/">website</a>. Since some of the instruments in the opera pit are unusual and may be new to the Cincinnati Opera audience, I want to take a moment to give some information about them.</span></div>
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The music in this opera is played in a creative and improvisatory manner that is surprisingly similar to jazz. The composer provides the material for the solo voices, and only a skeletal bass line for the accompanying instruments remains. Instruments such as the theorbo, harpsichord, harp, Baroque guitar, and lirone are expected to know how to play the correct chords according to certain theoretical rules of harmony. This practice, called <b>basso continuo</b> or simply continuo, was a very common way of playing music in the Baroque period.<br />
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<b style="font-size: 13px;">About the Instruments</b></div>
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<span style="font-family: "times" , "times new roman" , serif;">The <span style="font-weight: bold;">viola da gamba </span>was
one of
the predominant
instruments of the
Renaissance and
Baroque in Western Europe. “Viola da gamba” (or viol) literally means viola of
the leg. It is a<span style="font-weight: bold;"> </span>fretted
instrument
with five to seven
strings and
is played with an underhand bow grip. The viola da gamba is a family of
instruments with ranges that correspond to the human voice: treble, tenor, and
bass. It is not related to the viola or cello and is a separate instrument group, more closely related to a lute or guitar than a cello</span></div>
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The <b>lirone</b> (pronounced lee-roh-nay) was played throughout Italy in the 16th and 17th centuries. It is a bowed string instrument that is held similar to a cello, but it has anywhere from nine to fourteen strings. It has a flat bridge and plays chords of three or four strings at a time. The lirone was used to highlight emotional peaks in music and was considered ideal for dramatic laments. It was a great color used by musicians in 17th-century Italy in the early development of opera. </div>
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The new harmonic language of the Baroque period called for a fuller chromatic range of notes than what came before it in the Renaissance. Whereas earlier harps only played diatonic notes (white keys on the piano), more chromatic notes (black notes on the piano) were now necessary. The <b>Baroque triple harp</b> has two identical diatonic rows of strings on the outside, with an inside row of chromatic notes.</div>
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In 17th-century Italy, the bent-neck lute was replaced by the <b>theorbo </b>(pronounced thee-ohr-boe). The bass strings were mounted on an extension, giving them nearly twice the string length of the treble strings. Naturally, this gave the bass more strength and volume. The purpose of the theorbo is to reinforce the bass, whereas the purpose of the lirone is to enrich the harmonies. The composer Giulio Caccini said that the theorbo was the perfect instrument to accompany the voice.</div>
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<span style="color: black; font-family: "times new roman"; font-size: 11.0pt;">The </span><span style="color: black; font-family: "times new roman"; font-size: 11.0pt; font-weight: bold;">harpsichord</span><span style="color: black; font-family: "times new roman"; font-size: 11.0pt;">
almost needs no introduction. It is a keyboard instrument with strings that are
plucked by plectra, as compared to the piano, where the strings are hit by
hammers. The harpsichord was </span><span style="color: black; font-family: "times new roman"; font-size: 11.0pt;">a </span><span style="color: black; font-family: "times new roman"; font-size: 11.0pt;">common keyboard instrument in the </span><span style="color: black; font-family: "times new roman"; font-size: 11pt;">Renaissance
and Baroque periods until the 18</span><span style="color: black; font-family: "times new roman"; font-size: 11pt; vertical-align: super;">th</span><span style="color: black; font-family: "times new roman"; font-size: 11pt;">
century introduction of </span><span style="color: black; font-family: "times new roman"; font-size: 11pt;">the </span><span style="color: black; font-family: "times new roman"; font-size: 11pt;">piano,
when it died out. Both harpsichords used in <i>Poppea</i> are made by James Campbell, who lives in Newport, Kentucky.</span></div>
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The <b>recorder</b> is a family of instruments (similar to the viola da gamba) with sizes ranging from the sopranino, soprano, treble, tenor, bass, and great bass. It is basically an extended whistle with a thumbhole and about seven holes for the remaining fingers. It was quite popular during the Renaissance and Baroque periods. With its history tracing back to the Middle Ages, the recorder has undergone several changes in appearance and importance throughout the centuries. Characteristic for this early wind instrument are eight finger holes, including one thumbhole, as well as a block of wood set into the shaped mouthpiece, creating the place for tone production. The German and French names for the instrument “Blockfloete” and “flûte á bec” reflect this feature. Evolved from a one-piece body with cylindrical bore and single holes as seen in medieval iconography, the recorder became popular as a consort instrument during the Renaissance, forming a small ensemble of differently sized recorders from great bass to garklein (one octave above the soprano). By the 16th century, the recorder also began its development into a solo instrument. A substantial portion of recorder music was composed during the Baroque period. Eighteenth-century instruments have a conical bore, some double holes, a wider range, and often a more ornamented design than earlier models. The recorder fell out of use towards the end of the 18th century, and experienced its revival along with the rise of historical performance practice in the 20th century.</div>
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Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-18198442354229451382018-05-29T12:31:00.001-07:002018-05-29T12:31:03.011-07:00The Instrumentalists in The Coronation of Poppea<!--StartFragment-->
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<br />
<b style="font-family: "times new roman"; font-size: 12pt;">About The Catacoustic Consort</b><br />
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<o:p></o:p></div>
<br />
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<br /></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">The Catacoustic Consort is a 501c 3 nonprofit chamber music group,
specializing in music of the Renaissance and Baroque with period instruments.
Catacoustic is in its 17<sup>th</sup> season and is dedicated to the early
music community in the greater Cincinnati area. In addition to our
subscription concerts, Catacoustic provides a rental program of early music
instruments; offers an annual scholarship for instruments, training, or early
music education; offers pre-professional mentorship and training; and offers
frequent workshops and masterclasses. Catacoustic is also committed to outreach
to senior citizens.<o:p></o:p></span></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<br /></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0in; orphans: 2; text-align: justify; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-justify: inter-ideograph; widows: 2; word-spacing: 0px;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">The
Catacoustic Consort, lead by Artistic Director Annalisa Pappano, was the Grand
Prize Winner of the national Early Music America / Naxos Recording Label
Recording Competition in 2003. Their CD recording of an Italian laments program
on the Naxos label was released to international critical acclaim.
Catacoustic’s latest CD was released in 2014 on its own label and features rare
French Baroque music for the pardessus de viole.<o:p></o:p></span></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<br /></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">Three times invited to perform for the San Francisco Early Music
Series, their concert touring includes Colombia (South America), Madison Early
Music Festival, Columbus Early Music, Eugene Oregon, Indiana State University,
and the University of Dayton. Catacoustic was also a featured ensemble at 2014
& 2017 Viola da Gamba Society of America Conclaves. Catacoustic has
also worked frequently in collaboration with University of Cincinnati
College-Conservatory of Music for concerts, coachings, masterclasses, and
lectures. They have given collaborative performances for specially-curated art
exhibits at the St. Louis and Cincinnati Art Museums. And their most recent
collaboration, with Cincinnati Opera, resulted in the successful staging of
Cavalli’s <i style="mso-bidi-font-style: normal;">La
Calisto</i>. <i style="mso-bidi-font-style: normal;">Opera
News</i> praised the ensemble as “a constant source of delight,” noting their
“rich” sound and “evident rapport” within the company. Catacoustic has two new CD
recordings: one of 17th-century Italian vocal music with continuo (with Melissa
Harvey - in this production of Poppea - and Virginia Warnken of music from the
time of Monteverdi) and another of 18th-century French arrangements of opera
airs for soprano (Melissa Harvey) and pardessus de viole (hybrid combination of
viola da gamba and violin).<o:p></o:p></span></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<br /></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">**************************************************<o:p></o:p></span></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;"><br /></span></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;"><b>About the Catacoustic Consort Instrumentalists in <i>Poppea</i></b></span></div>
<div style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; margin-bottom: .0001pt; margin: 0in; orphans: 2; text-align: justify; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-justify: inter-ideograph; widows: 2; word-spacing: 0px;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzOnYLpX2uR7v-SwXRgEqsUmL9ukNilX5cspMSzqQNwW0htcKz_D-71DsmBlNj3uWz_oCvMoWuE5AuTALqkYoWaLD1vPgcyN8VHC1r53rnoRtOjCUWWpJUi19lFU-vBhcKbdA7psg0sNuQ/s1600/AG7A4671.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1143" data-original-width="1600" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzOnYLpX2uR7v-SwXRgEqsUmL9ukNilX5cspMSzqQNwW0htcKz_D-71DsmBlNj3uWz_oCvMoWuE5AuTALqkYoWaLD1vPgcyN8VHC1r53rnoRtOjCUWWpJUi19lFU-vBhcKbdA7psg0sNuQ/s320/AG7A4671.jpg" width="320" /></a></div>
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</div>
<div style="text-align: left;">
<span style="font-family: "times new roman";"><br /></span></div>
<span style="color: #03060d; font-family: "times new roman"; mso-bidi-font-weight: bold;"></span><br />
<div style="text-align: left;">
<span style="color: #03060d; font-family: "times new roman"; mso-bidi-font-weight: bold;"><span style="font-size: 12pt;"><b>Annalisa Pappano</b> is the founder and artistic director of the Catacoustic
Consort. She</span><span style="font-size: 12pt;">
studied at Indiana University’s Early Music Institute and at Oberlin Conservatory
of Music. Her playing has been described by critics as “mercurial and
enchanting” and “with a sound that is lighter than air with the airy luster of
gilding on the mirrors of a rococo drawing room.” She has performed throughout
Belgium, England, Ireland, Colombia, Canada, and the U.S. and has appeared on
nationally syndicated radio and has played at the Boston, Berkeley, and
Vancouver Early Music Festivals and the Ojai Music Festival. Pappano is a
member of Wildcat Viols and Atalante (England), and the recording she performed
on with Atalante won a Diapason d’Or and Gramaphone Award. She has performed
with numerous other ensembles including the Houston Grand Opera, Cincinnati
Opera, the Cleveland Opera, the Portland Opera, the Portland Baroque Orchestra,
Philharmonia Baroque Orchestra (San Francisco), Les Voix Baroques, Opera
Atelier, the Toronto Consort, the Concord Ensemble, Cappella Artemisia
(Bologna), Parthenia Viol Consort, and Consortium Carissimi. She has taught at
Viola da Gamba Society of America national conclaves, the Viola da Gamba
Society Pacific Northwest and Northeast chapters, the San Diego Early Music
Workshop, ViolsWest, the Madison Early Music Workshop, and has been a guest
lecturer at numerous universities. Pappano led the Catacoustic Consort to win
the grand prize in the Naxos / Early Music America Live Recording Competition
and recorded a program of Italian laments on the Naxos label. Pappano teaches
viola da gamba at the University of Cincinnati College-Conservatory of Music.</span></span></div>
<span style="color: #03060d; font-family: "times new roman"; mso-bidi-font-weight: bold;">
</span>
<div style="margin-bottom: .0001pt; margin: 0in; text-align: justify; text-justify: inter-ideograph;">
</div>
<div style="text-align: left;">
<span style="font-family: "times new roman"; font-size: 16px;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: "times new roman"; font-size: 16px;"><br /></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ7JLHickL49TMx9q3K2DgSSy1i6dx_3a4JIYWLgZQvBuct-uXZBpSEcoeGkIddOtICTQfKsV335gNw6NjBHPbPhBGWKjrCig-aZ3xzMJkJYow_UKWFNLcPrHOOeFZ5WjoHo1YEVbFfGPJ/s1600/DavidWalker.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1164" data-original-width="1600" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ7JLHickL49TMx9q3K2DgSSy1i6dx_3a4JIYWLgZQvBuct-uXZBpSEcoeGkIddOtICTQfKsV335gNw6NjBHPbPhBGWKjrCig-aZ3xzMJkJYow_UKWFNLcPrHOOeFZ5WjoHo1YEVbFfGPJ/s320/DavidWalker.jpeg" width="320" /></a></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;"><br /></span></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<div style="text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">Lutenist and guitarist <b>David Walker</b> has performed extensively
throughout the US, earning praise for his “surety of technique and expressive
elegance,” (Columbus <i>Dispatch</i>) as well as his “tremendous dexterity
and careful control” (Bloomington <i>Herald Times</i>). </span><span style="font-family: "times new roman"; font-size: 12pt;">David is a
regular performer with the Catacoustic Consort and has appeared with Boston
Baroque, Chatham Baroque, Clarion Music Society, the Smithsonian Chamber
Players, Tempesta di Mare, and is a member of the chamber ensemble Ostraka. He
has performed in numerous baroque opera productions, including engagements with
Glimmerglass Opera and the Wolf Trap Opera Company. Festival highlights include
the Savannah Music Festival, Indianapolis Early Music Festival, and solo
recitals for the Bloomington Early Music Festival and the University of
Louisville Guitar Festival. Recording credits include Ostraka’s critically
acclaimed debut, </span><i style="font-family: "times new roman"; font-size: 12pt;">Division,</i><span style="font-family: "times new roman"; font-size: 12pt;"> and recordings for Sono Luminus and
Linn Records. David studied with Nigel North at Indiana University.</span></div>
</div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<br /></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2lXdjCa2Eb_f_q37hLAkGT3uB5779bYluUddjaCeXaNmi6PD0Vw_r9r90Xv-blKF_tc2NFX8KB8XVysYnN3F1YimNECW0ecgCDUOnEUmfpMy7Qt9uGm_SZL2rCwvtDEzeF9eCjUmE-6wD/s1600/Maginley.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="872" data-original-width="1326" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2lXdjCa2Eb_f_q37hLAkGT3uB5779bYluUddjaCeXaNmi6PD0Vw_r9r90Xv-blKF_tc2NFX8KB8XVysYnN3F1YimNECW0ecgCDUOnEUmfpMy7Qt9uGm_SZL2rCwvtDEzeF9eCjUmE-6wD/s320/Maginley.jpeg" width="320" /></a></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;"><br /></span></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;"><b>Andrew Maginley</b> is an internationally renowned lutenist
and is at home on the concert, opera, and chamber stage. A native New
Yorker, after gaining a Bachelor's Degree in Fine Arts, he completed his
studies on the lute at Mannes College of Music in New York. As a Fulbright
Scholar, Andrew had further studies at the Hochschule für Künste in Bremen
Germany. His second solo recording, Andrew Maginley: The Baroque Lute -
J.S. Bach, S.L. Weiss & Adam Falckenhagen, on Avie Records has been
highly praised by Gramophone and Fanfare magazines. He has given solo
performances at the Bachhaus in Eisenach, the Bloomington Early Music Festival,
Handel-Festival Göttingen, Berlin Tage für Alte Musik, Aspen Festival, Telemann
Festspiele Magdeburg, the Hong Kong Performing Arts Academy, and the
Händel Festspiele Halle. Andrew has performed with Sempreoper Dresden,
Collegium 1704, and Oper Frankfurt, Edinburgh Festival 2013, Opera North, BBC
Proms Royal Albert Hall with Glyndebourne Opera, Oper Stuttgart 1998-2006, Oper
Klagenfurt, Oper Graz, Nederlandse Opera, New York City Opera, Los Angeles
Opera, Liceo Opera Barcelona, The English Concert, The Ulster Orchestra, and
Orchestra of the Age of Enlightenment, King’s Place with Steven Wallace, the
Ulster Orchestra featuring Andreas Scholl and with soprano Danielle de Niese
live on TV for the BBC Breakfast Show.<o:p></o:p></span></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<br /></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQClhQuxpl-Oyr0_W9MP5nAl5Ob8lDbQ3-VGwKTQLQVEdlbSAGPzP5R9RtX5b37liwu8ZqZZ4aCvh3qRVXKUEL39IHxoQvtaRDYbqwUIBz-e2XiVVEZYgP_hc0eeCaeuqJ8kNxpunqQO1I/s1600/JMillerPic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1282" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQClhQuxpl-Oyr0_W9MP5nAl5Ob8lDbQ3-VGwKTQLQVEdlbSAGPzP5R9RtX5b37liwu8ZqZZ4aCvh3qRVXKUEL39IHxoQvtaRDYbqwUIBz-e2XiVVEZYgP_hc0eeCaeuqJ8kNxpunqQO1I/s320/JMillerPic.jpg" width="256" /></a></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;"><br /></span></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;"><b>Jody Miller</b> has a diverse musical career, mostly built around
playing and teaching recorder. Originally from Mississippi, Miller
has actively spent the past 26 years helping promote early music and recorder
in the Atlanta area. He has served as president of the Atlanta
chapter of the American Recorder Society, music director for the same
organization, board member of the Atlanta Early Music Alliance, and education
editor and music reviewer for the American Recorder Society. Most of
his current advocacy efforts are through a community collegium he directs,
Lauda Musicam of Atlanta. This 35-member ensemble performs several
times per year and organizes educational opportunities for both musicians and
non-musicians. In addition to maintaining a recorder studio of
students from throughout the Southeast, Miller serves as director of the
Mountain Collegium Early Music and Folk Music Workshop. He is a
regular faculty member at the Atlanta Mid-Winter Early Music Workshop, Bloom
(PA) Early Music Workshop, and Mountain Collegium Early Music and Folk Music
Workshop. Miller is also part of the Traveling Teacher program
offered by the American Recorder Society.<o:p></o:p></span></div>
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<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">Miller is an avid supporter of contemporary music for historical
instruments. <i>Eighty-Eight & Eight</i>, his duo with
pianist Lisle Kulbach, performs new music for recorder and recently performed
the premier of Timothy Broege’s composition Way. Other premier
performances include <i>Dark Moods and Breakaway</i> by Martha Bishop
(recorder and percussion) and five other compositions by Broege. Miller
also performs with Ritornello Baroque Ensemble, based in Atlanta.<o:p></o:p></span></div>
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<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">Miller has performed on recorder with the Atlanta Symphony
Orchestra, the Atlanta Baroque Orchestra, and New Trinity Baroque Orchestra. He can
be heard with New Trinity Baroque on the Edition Lilac compact disc <i><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">Charpentier: Messe de Minuit</span></i>. Miller
will also be a soloist at the 2018 Victoria (TX) Bach Festival.<o:p></o:p></span></div>
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<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;"><b>Elizabeth Motter</b>'s career as a modern
harpist has taken her around the globe. Highlights include concerts with
Singapore Symphony, Spoleto Festival, Aspen Music Festival, Des
Moines Metro Opera, Lancaster Festival, New World Symphony, Peninsula
Music Festival, a residency in Japan, and performing
as a substitute in the Cincinnati, Indianapolis, and
Columbus Symphony Orchestras. She has played in the
orchestras of Marvin Hamlisch, Sarah Vaughan,
Aretha Franklin, Manhattan Transfer, Al Jarreau, The King's Singers,
and Frank Sinatra, and participated in recordings made by Nashville
Chamber Orchestra, Cincinnati Symphony and Pops Orchestras, Indianapolis
Symphony, and two Christmas CD’s with Cincinnati’s Vocal Arts
Ensemble. Her journey into historical performance practice with the
baroque triple-strung harp has led her to attend the Amherst Early Music
Festival, Accademia D'Amore (<wbr></wbr>Seattle), Oberlin's Baroque
Performance Institute, and Tafelmusik's Ba<wbr></wbr>roque Summer
Institute (Toronto), and Festival “le Arpe in Villa" (Italy). In addition
to performing regularly with Catacoustic, Elizabeth has participated in
CCM's Monteverdi Project and was a member of the continuo
team for Cincinnati Opera's production of <i>La Calisto.</i> She
can be heard in Catacoustic's recently released CD of Italian music, as well as
a recent recording with Consortium Carrissimi<i>. </i>Elizabeth teaches at
CCM's Preparatory Department and freelances throughout the region.
She is a founding member of Three 2 Tango, a trio that specializes
in improvisatory Argentine tango music.<o:p></o:p></span></div>
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<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">Lauded for her “unusually probing intellect” and “passionate drive
to make music come to life in the here and now,” <b>Laura Osterlund</b> is an avid member
of the movement to promote early music performance, pedagogy, research, and
appreciation throughout North America. Her focus is on polyphonic music from
the 12th-16th centuries, period composition, and improvisational practices.</span><span style="color: #222222; font-family: "times new roman"; font-size: 12.0pt;"><o:p></o:p></span></div>
<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">Laura worked as Assistant Program Manager and Recorder Specialist
Teacher to Keiskamma Music Academy, a nonprofit youth development program in
South Africa’s Eastern Cape. She also worked as a research assistant for McGill
University’s Distributed Digital Music Archives and Libraries Lab, helping to
develop projects such as Optical Music Recognition for Plainchant and Single
Interface for Music Score Searching and Analysis. Laura taught summer courses
at the Whitewater and Madison Early Music Festivals. Laura was also Director of
the West Suburban Early Music Society for their 2016 season. She sang as a
cantor and choral scholar for Ss. Peter and Paul Catholic Church in Naperville,
Illinois and held solo vocalist positions at Trinity Memorial and St. Columba’s
Anglican churches in Montreal. Laura maintained an early music concert series
for inpatients at Montreal’s Villa Medical Rehabilitation Hospital and
recorded renaissance solo repertoire for Ubisoft’s video game Assassin’s Creed
Brotherhood.</span><span style="color: #222222; font-family: "times new roman"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;"><br /></span>
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">Based in Chicago, Laura served on the Youth Advisory Board for
Early Music America and was a longstanding writer for the radio program
Harmonia Early Music, the author of dozens of original scripts. She is a
founding member of Chicago Recorder Quartet, Ensemble Musica Humana, and the
now annual Pioneer Valley Early Music Day festival. Laura has enjoyed a varied
performing career as a guest artist with the Cincinnati Symphony Orchestra,
Rockford Symphony Orchestra, Bach and Beethoven Ensemble, Music of the Baroque,
VOX 3 Collective, Ensemble Scholastica, New Comma Baroque, The Marion Consort,
Ensemble Musical Offering, Opera Theater of St. Louis in their production of
Handel’s <i>Riccardo Primo</i>, and Cleveland Opera Theater in their
production of Handel’s <i>Serse</i>. In 2011 Laura was awarded Early
Music America’s prestigious Barbara Thornton Memorial Award. Laura’s study of
medieval repertoire with Sequentia during the 2008 Vancouver Early Music
Festival proved a turning point in her career and a catalyst for the pursuit of
her life’s passion.</span><span style="color: #222222; font-family: "times new roman"; font-size: 12.0pt;"><o:p></o:p></span></div>
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<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">Originally from Toronto, <b>Michael Unger </b>is a multiple
award-winning harpsichordist and organist who appears as a soloist and chamber
musician in North America, Europe, Japan, and South Korea. Since 2013, he is
the Assistant Professor of Organ and Harpsichord at the University of
Cincinnati College-Conservatory of Music. He is a First Prize and Audience
Prize winner of the National Young Artists’ Competition of the American Guild
of Organists (NYACOP), First Prize winner of the International Organ Competition
Musashino-Tokyo, and a Second Prize and Audience Award winner of the
International Schnitger Organ Competition on the historic organs in Alkmaar,
the Netherlands. Recent solo recitals include national conferences of the
Historical Keyboard Society of North America and the American Guild of
Organists, Internationale Orgelwoche Nürnberg, ‘Five Continents – Five
Organists’ at Seoul’s Sejong Center, and numerous international and regional
recital series. Recent harpsichord collaborations include Catacoustic Consort,
Collegium Cincinnati, Publick Musick, Cincinnati Opera and Cincinnati Symphony
Orchestra. He received favorable international reviews for his debut solo organ
recordings under the Naxos and Pro Organo labels, and his performances have
been broadcast on North American and European radio, including syndicated
programs <i>Pipedreams</i> and <i>With Heart and Voice</i>. He
was a guest faculty at the 2015 and 2016 Smarano International Keyboard
Academies in Trentino, Italy.<o:p></o:p></span></div>
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<div style="margin: 0in 0in 0.0001pt; text-align: left;">
<span style="color: black; font-family: "times new roman"; font-size: 12.0pt;">Michael Unger holds a Doctorate of Musical Arts with Performer’s
Certificate from the Eastman School of Music, where he was a student and
teaching assistant of David Higgs and William Porter, and was also a recipient
of the Jerald C. Graue Fellowship. He also a Gold Medal graduate of the
University of Western Ontario, where he studied with Larry Cortner, and has
pursued post-graduate coaching in Cincinnati with Roberta Gary. Formerly the
Director of Music of Rochester’s Lutheran Church of the Incarnate Word and
South Presbyterian Church, he currently serves as organist of Cincinnati’s
historic Isaac M. Wise (Plum Street) Temple.</span></div>
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Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-2195805965008362142018-03-14T09:31:00.005-07:002018-03-14T09:33:10.404-07:00Yael Senamaud-Cohen's Catacoustic Grant Report: Oberlin's Baroque Performance Institute<!--[if gte mso 9]><xml>
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<span style="font-family: Times, Times New Roman, serif;"><span style="font-family: Times, Times New Roman, serif; font-size: small;"><b>Yael Senamaud-Cohen is a professional modern and baroque violist and violinist, based in Cincinnati. She has played with Catacoustic, as well as numerous other ensembles throughout the world. She was one of two recipients of last year's Catacoustic grant award. </b></span><b>We are thrilled to have Yael here in Cincinnati and that she continues to deepen her understanding of early music performance practice.</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOzen54XPDv9NadbabXHUZUWuEL6q3wLaeQXl_o8U43-yKtZ6u-D8z6m0MHY2FqEuDA7SQHysjoBLJNFIbT76_9lJqhVFix8gVHpKTrx3PT_kmuYTfqkTHiY-vNceYsQ7ZNuCfFcDstBc/s1600/Yael.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="640" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOzen54XPDv9NadbabXHUZUWuEL6q3wLaeQXl_o8U43-yKtZ6u-D8z6m0MHY2FqEuDA7SQHysjoBLJNFIbT76_9lJqhVFix8gVHpKTrx3PT_kmuYTfqkTHiY-vNceYsQ7ZNuCfFcDstBc/s320/Yael.JPG" width="320" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">I felt
privileged and honored to receive the Catacoustic Consort <span lang="FR">Grant </span>to participate at the Baroque
Performance Institute in Oberlin, Ohio. It was an enriching experience for me to
meet the incredible faculty <span lang="FR">and to play with other
dedicated musicians. </span>They
are so highly committed to baroque music, performance, and teaching with the most integrity, historical context, and deep knowledge. <o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">I started the day with viola da gamba group class. Then on to violin... We were a large group of violinists (about 40) divided in two groups for the masterclasses of the 3 violin faculty. It was interesting to start the day with a bow technique class that focused on differences with modern playing. During the masterclasses, I was
impressed by the level of knowledge and stylistic nuance. The
teachers suggested how to play each baroque composer. I was able to play
some German, Italian, and French music: each requires a different technique to
serve the style. Marilyn MacDonald was great at communicating how to play the
French ornaments so they sound like embellishments and not technical difficulties. Cynthia Roberts has a way to set you up on the instrument
in a natural way and infuse her knowledge through the bow to find <span lang="FR">expression
in the </span>sound. In
the afternoon we rehearsed chamber music, an element of the program that
presented yet another <span lang="FR">occasion </span>to deepen our musicianship<span lang="FR"> in
ensemble. </span>It was
then followed by baroque dance with Julie Andrijewski, an amazing performer and
dancer. This part of the program most certainly enhanced my understanding of
dances in baroque music. <span lang="FR">I now think baroque dance should be
taught with the instrument so that we may once again reproduce the character of
the music. Following dance class, we played in orchestra to prepare the
concert for the end of the week. </span>We ended the day practicing or listening to the
faculty rehearsing or performing. <span lang="FR">It was an amazing experience to
share my passion for early music with people from all backgrounds and in all
different sized-groups, from one to sixty. </span><o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">This total immersion program has really made a big impact on me and
deepened my understanding of baroque music. I cannot wait to participate in
other festivals or workshops<span lang="FR"> and perform more and more. I would
love to do be able to do so in Cincinnati.</span></span></div>
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Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-70901323314986581832018-02-28T12:18:00.001-08:002018-02-28T12:18:29.021-08:00Michael Delfín, Catacoustic Grant Recipient Reports Back<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7t_9Sjufd7V4VokqqC6OlaTi6HPklDbjyuXehseu0KYp1FzBlXX4JZ5zDCwZERbhT1X0taM4EuH6QHIX29mbTAi-9WQzzk6hqvJ_xr3yH2qSBVYEvR5k0szcAQ5cQ-7imY4RGvF8o0QbU/s1600/Delfin+Master+class.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="605" data-original-width="908" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7t_9Sjufd7V4VokqqC6OlaTi6HPklDbjyuXehseu0KYp1FzBlXX4JZ5zDCwZERbhT1X0taM4EuH6QHIX29mbTAi-9WQzzk6hqvJ_xr3yH2qSBVYEvR5k0szcAQ5cQ-7imY4RGvF8o0QbU/s320/Delfin+Master+class.jpg" width="320" /></a></div>
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<span style="font-family: "Book Antiqua"; mso-bidi-font-family: "Times New Roman";"> It is with great joy that I write this
narrative of my time spent at the American Bach Soloists Academy. The two weeks
I spent in San Francisco studying historical performance consisted of some of
the most enjoyable music-making of my entire life, and I am delighted to be
bringing the experience and lessons learned to my studies in Cincinnati.<o:p></o:p></span></div>
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<span style="font-family: "Book Antiqua"; mso-bidi-font-family: "Times New Roman";"> Several dozen students arrived in
California and immediately set to work in several key areas: chamber music,
orchestra, Bach cantatas, and instrument training. Collaborations formed
friendships as musicians ages 18-60 dove into all manner of Baroque music. I
participated in performances of works by Gottfried Finger and CPE Bach, the
latter of which received a rave local review! Working on Bach cantata movements
with multiple coaches of different instruments introduced many of the students
to Bach’s “pragmatic creativity,” his ability to compose for any combination of
instruments with any text he needed. Harpsichord classes with Prof. Corey
Jamason of the San Francisco Conservatory opened my ears to many different
interpretational possibilities as seven students gathered from across the
country.<o:p></o:p></span></div>
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<span style="font-family: "Book Antiqua"; mso-bidi-font-family: "Times New Roman";"> What struck me most about the ABS
environment is the camaraderie shared among the students and faculty. I feel
that this musical harmony came across in performances: audiences of all ages
breathed in the music and responded with more enthusiastic applause than one
hears in most standard classical concerts. This atmosphere left a major
impression on me, and I hope to relive it for years to come.<o:p></o:p></span></div>
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<span style="font-family: "Book Antiqua"; mso-bidi-font-family: "Times New Roman";"> Fortunately, my foray into historical
performance did not cease when the ABS Academy came to a close. In the current
semester alone, I have been fortunate enough to continue every single activity I
enjoyed while at ABS! Most notable was CCM's production of Bach's monumental
Mass in B Minor, which ABS presents every summer. Opening the score myself for
the first time this month proved to be a monumental experience, calling to mind
Maestro Jeffrey Thomas’s words: “You’ll never forget your first Mass in B
Minor.” In the meantime, I soloed for the Christ Church Cathedral's Music
Live@Lunch with a Bach Partita and participated in a master class with Ed
Parmentier of the University of Michigan. In addition, collaborations with
other CCM students interested in historical performance are highlighting my
calendar, from continuo for Bach violin concertos to Baroque songs with viol. A
baroque violin enthusiast, a gamba-playing cellist, and I joined forces to
perform a Corelli violin sonata. The finale of my semester’s Baroque activities
will be to conduct a Bach cantata from the keyboard for a soprano friend’s
recital – after performing Purcell songs on the same program.<o:p></o:p></span></div>
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<span style="font-family: "Book Antiqua"; mso-bidi-font-family: "Times New Roman";"> I set out to attend ABS with a question:
is historical performance a viable career option for a curious pianist? Thanks
to the support of the Catacoustic Consort, I am discovering that, indeed, it
is. I am very grateful to Catacoustic for helping me realize this possibility
and for opening the door to a new pathway of music-making.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdtfYvIxmLV-C0tD5P82aY9lekv_jQNIXb_7z8TUhaGTaFscGSoy1rKnwV4jD1K-z8qGS4bCQnvl5t1y2pekryYvjibxx3R_HQ_903qHZtvP5ZYSAjqyFOEeDBdi6WOFsBf1qyzreDbPJg/s1600/Delfin+chamber+group.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdtfYvIxmLV-C0tD5P82aY9lekv_jQNIXb_7z8TUhaGTaFscGSoy1rKnwV4jD1K-z8qGS4bCQnvl5t1y2pekryYvjibxx3R_HQ_903qHZtvP5ZYSAjqyFOEeDBdi6WOFsBf1qyzreDbPJg/s320/Delfin+chamber+group.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chamber Music Group</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAd5eYefcgs_JRVlDofbCrBJ4WeOVN6mx7ELr6vqZDSSF48iqqB0lI-vbElcE79JZFHgmG5PKmsmqzGq82St1FJFCCuq_Sl0vGBJHBygBxx5IwsLOU0qe09sNaaf2UC_vLId5lAOysuUbr/s1600/Delfin+rehearsal+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAd5eYefcgs_JRVlDofbCrBJ4WeOVN6mx7ELr6vqZDSSF48iqqB0lI-vbElcE79JZFHgmG5PKmsmqzGq82St1FJFCCuq_Sl0vGBJHBygBxx5IwsLOU0qe09sNaaf2UC_vLId5lAOysuUbr/s320/Delfin+rehearsal+3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Baroque Orchestra Rehearsal, playing both chamber organ and harpsichord</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Delfín with Corey Jameson (harpsichord instructor)</td></tr>
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<br />
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<tr><td class="tr-caption" style="text-align: center;">Delfín with Maestro Jeffrey Thomas</td></tr>
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</style>Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-60060118208387033072017-08-28T10:29:00.003-07:002017-08-28T15:53:03.670-07:00Catacoustic Activities this Summer<div class="MsoNormal">
The activities of your favorite Catacoustic musicians do not
stop in the summer between seasons. Summer 2017 has been an unusually eventful
one for all of us, so permit me a moment of pride…<o:p></o:p></div>
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Catacoustic Consort Baroque harp player Elizabeth Motter
went to Italy this summer to work with Mara Galassi, perhaps the finest
Baroque harp player in the world. And, soprano Melissa Harvey spent the summer
singing with Cincinnati Opera in roles for their productions of <i style="mso-bidi-font-style: normal;">Frida</i> and <i style="mso-bidi-font-style: normal;">Song from the Uproar</i>. She sounded great! Melissa, Elizabeth, and I
also raised funds for our exciting upcoming CD project, in addition to lots of
musical preparation! You will soon be able to watch the video we created
(funding from Summerfair and the Ohio Arts Council) with videographer Melissa
Godoy on YouTube. <o:p></o:p></div>
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<o:p> </o:p><span style="font-size: 12pt;">I was fortunate to have a number of inspirational
experiences this summer. It began with a concert tour with the Italian ensemble,
</span><a href="http://cappella-artemisia.com/" style="font-size: 12pt;">Cappella Artemisia</a><span style="font-size: 12pt;">. This ensemble is led by groundbreaking performance practice
scholar-singer, Candace Smith, who has revolutionized how people perform nuns’
music. We began the tour in Providence, RI at a nunology conference (yes, that
is a thing!), where I heard interesting presentations and ran into Craig
Monson, who gave a lecture for us here in Cincinnati several years ago. The
second stop on our tour was at the University of Oregon, where I stayed with
Marc Vanscheeuwijk (a mentor to many Catacoustic musicians), who shared some of
his exciting recent research, including a new CD-book set about the curvilinear
history of the cello and a project where he and colleagues discovered historic
viols that were painted gold to adorn an old organ in Germany. He had the
instruments (interesting in their construction) recreated and made a CD with
them. Our third stop was in Los Angeles, where we played at the beautiful
campus of Mount St. Mary’s University, and their girls’ choir sang with us. We
traveled to UCLA Irvine, where I met another brilliant nunologist scholar,
Colleen Reardon. From there we flew to the Center at Donaldson, IN – a
beautiful convent among the cornfields! It was great to play nuns’ music for
nuns, and I loved hearing one of the audience members call out, “go, nuns!” Our
final stop was in Lancaster, PA, where Candy’s husband Bruce Dickey (cornetto
player who played with Catacoustic) joined us for a nice visit. It was such a
pleasure to work with these talented ladies, who have an intimate understanding
of the Italian language and its music.</span></div>
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<span style="font-size: 12pt;">The next happy event of the summer was learning that my dear
friend Joanna Blendulf was hired to teach viola da gamba and Baroque cello at
Indiana University! What a great choice that was for the school, and it is
wonderful to have her and her husband (who has sung with Catacoustic several
times) Aaron Cain living nearby! If we are lucky, we will have Joanna gracing
our stage much more in the future.</span></div>
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My next stop was at the Boston Early Music Festival, where
my mentor Tina Chancey directed a pardessus de viole symposium. This was my
first time at BEMF, and I marveled at turning around every moment to run into
colleagues – some whom I hadn’t seen in 20 years! On the other hand, I started
the festival by coincidentally sitting next to Dr. Michael Unger, harpsichord
professor at CCM! It was thrilling to meet pardessus players and scholars from
all over the world who have led me along on my own journey with this
instrument. The concerts and opera at BEMF were memorable and renewing,
including an ornate French Baroque opera (with many Catacoustic musicians),
Handel’s <i style="mso-bidi-font-style: normal;">Resurrezione</i>, and a concert
with Bruce Dickey (and Joanna Blendulf).<o:p></o:p></div>
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<span style="font-size: 12pt;">Later in June I taught for the first time at the Mountain
Collegium workshop in North Carolina, where I fell in love with that early
music community. Recorder, viol, sackbut, cornetto, and harp players spent a
week joyously playing and learning. The faculty (including Gail Schroeder, who
will be rejoining us this season) were exceptional and all pitched in for a wonderful
atmosphere! I was thrilled that my student Catacoustic Young Artist Wei-Shuan
Yu joined me at the workshop.</span></div>
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July took me to the national conclave of the Viola da Gamba
Society of America, and it was wonderful to see former Catacoustic scholarship
winner Cole Guillien there (still playing beautifully), as well as, again, Wei-Shuan
Yu. Wei-Shuan received a scholarship from Bourbon Baroque’s Nico Fortin Memorial
fund to attend, and she made quite a splash with her elegant musicianship. I
was very proud! Catacoustic was a featured ensemble in the concert that week,
and our program was received extremely well!<o:p></o:p></div>
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Finally, a little vacation time! I went to Germany for
several week in August to be with my husband’s family. We saw three operas
while we were there: the first was at the Innsbruck Early Music Festival. We
saw Monteverdi’s <i style="mso-bidi-font-style: normal;">Ulisse</i>, and I was
pleased to reconnect with Alex Opsahl, playing cornetto in that production. You
may remember her from the Catacoustic and Cincinnati Opera <i style="mso-bidi-font-style: normal;">Calisto</i> several years ago. The musical direction and the orchestra were
fabulous! Then, I saw <i style="mso-bidi-font-style: normal;">Il Trovatore</i>
outdoors in Erfurt. Finally, in the musical experience of a lifetime, my
husband and I were able to experience <i style="mso-bidi-font-style: normal;">Tristan</i>
at Bayreuth. I am still dreaming of that evening. <o:p></o:p></div>
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On my last day in Germany, I met with luthier Klaus Jacobson.
He has been crafting Catacoustic’s new theorbo, for which we have been waiting
three years, and I was able to take delivery of it at last. It is now in my
music room, aka Catacoustic Headquarters, waiting for its inaugural performance
February 10. (Check out our upcoming season <a href="http://catacoustic.com/">here</a>!)<o:p></o:p></div>
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It has been quite a summer. I feel grateful to be a musician
and to be able to have a group like Catacoustic with an audience such as you.
It has been bracing to travel around the country encountering Catacoustic’s
musical DNA in so many places. I have ben reminded that our connection to the
larger community goes both ways, to the benefit of us here at home, as well as
those far away we may never know about. I am renewed and ready for our first
concert of the season <a href="http://catacoustic.com/">September 22</a>!<o:p></o:p></div>
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Annalisa<o:p></o:p></div>
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Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-7192331030036974102017-07-31T07:49:00.003-07:002017-07-31T07:49:36.560-07:00Interview with Catacoustic Consort Soprano, Melissa Harvey<div class="separator" style="clear: both; text-align: left;">
Melissa Harvey has performed with the Catacoustic Consort for the past eight years and has become a regular feature in our concerts. We are pleased to feature her beautiful voice in our upcoming CD project, as well as many of our concerts this season. More information about Melissa can be found at her website at http://www.melissaharveysoprano.com/. There is still time to support Catacoustic's CD fundraiser project (with Melissa singing!) at <a data-ft="{"tn":"-U"}" href="https://igg.me/at/Catacoustic" rel="nofollow" style="color: #365899; cursor: pointer; font-family: "San Francisco", -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif; font-size: 14px; letter-spacing: -0.24px; text-decoration-line: none; text-size-adjust: auto;" target="_blank">https://igg.me/at/Catacoustic</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimUEBRgwmcg_5nDSxWPNGsU8jf42brHdxCILl1FlJS_0Jqqp6ciGYcDEVwtYB1vAkAFFh3MI8on6bxv9AatH8BjlrOHQf148g4mzP9NJuIX8hfbAQhsM5oluOG9h7fahyI4e780yLEonEK/s1600/Concert+%25232+MHarvey+Headshot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="742" data-original-width="561" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimUEBRgwmcg_5nDSxWPNGsU8jf42brHdxCILl1FlJS_0Jqqp6ciGYcDEVwtYB1vAkAFFh3MI8on6bxv9AatH8BjlrOHQf148g4mzP9NJuIX8hfbAQhsM5oluOG9h7fahyI4e780yLEonEK/s320/Concert+%25232+MHarvey+Headshot.jpg" width="241" /></a></div>
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<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"><i><b>How old were you when you knew that you would sing music as a career? What does a typical musical week look like in your life? What types of concerts and different styles of music do you perform?</b></i></span></div>
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<span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">Growing up, I performed for all different kinds of events: Talent shows, pageants, concerts, recitals, weddings, funerals, nursing homes, a shooting range opening, a pre-school opening, a Buffalo Bills game, and county and state fares. I was also in choir, band, musicals at school, and participated in the New York Summer School of the Arts choral program at SUNY Fredonia for three summers. Singing and performing was what I knew from an early age, and I didn’t think about doing anything else until I was in 10</span><span style="font-family: Arial; font-size: 5.7pt; text-indent: 36pt; vertical-align: super; white-space: pre-wrap;">th</span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;"> grade. I became very interested in astronomy and thought I may enjoy studying it in college. I eventually decided I was too terrible at math and that I would be more successful at singing! I met Karen Lykes (professor of voice at the University of Cincinnati College-Conservatory of Music - CCM) in the summer of 2001</span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;"> at NYSSSA, when </span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">I was just about to enter 9</span><span style="font-family: Arial; font-size: 5.7pt; text-indent: 36pt; vertical-align: super; white-space: pre-wrap;">th</span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;"> grade</span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; white-space: pre-wrap;">. She mentioned to my sister and me that she would be joining the voice faculty of CCM, and we should consider that school for our studies. Karen gave me confidence in my singing and allowed me to seriously consider studying it in college. Once I was at CCM, I didn’t consider the possibility of being unsuccessful in a singing career. My confidence and naivety allowed me to persevere throughout my undergrad. When I began my Masters degree, I began to realize more of the intricacies of the opera world and challenges of having a successful career. I had my gaze set on a purely operatic career, but I realized there were many other options to consider. </span></div>
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<span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; white-space: pre-wrap;">A typical music week with Catacoustic is rehearsing from </span><span class="aBn" data-term="goog_1297318842" style="border-bottom: 1px dashed rgb(204, 204, 204); font-family: Arial; font-size: 9.5pt; position: relative; text-indent: 36pt; top: -2px; white-space: pre-wrap; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">10am-5pm</span></span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; white-space: pre-wrap;"> </span><span class="aBn" data-term="goog_1297318843" style="border-bottom: 1px dashed rgb(204, 204, 204); font-family: Arial; font-size: 9.5pt; position: relative; text-indent: 36pt; top: -2px; white-space: pre-wrap; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">Monday</span></span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; white-space: pre-wrap;">-Saturday with breaks for lunch. This is very similar to Cincinnati Opera, with rehearsals from </span><span class="aBn" data-term="goog_1297318844" style="border-bottom: 1px dashed rgb(204, 204, 204); font-family: Arial; font-size: 9.5pt; position: relative; text-indent: 36pt; top: -2px; white-space: pre-wrap; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">10am-1pm</span></span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; white-space: pre-wrap;"> and </span><span class="aBn" data-term="goog_1297318845" style="border-bottom: 1px dashed rgb(204, 204, 204); font-family: Arial; font-size: 9.5pt; position: relative; text-indent: 36pt; top: -2px; white-space: pre-wrap; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">2-5pm</span></span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; white-space: pre-wrap;">. I typically have rehearsals for other small gigs and sometimes even performances during the weeks of these rehearsals. I do most of my singing in Cincinnati, which allows me to do my weekly gigs and pick up a few extra things along the way. Currently, I work a day job as the assistant to the director at the Contemporary Arts Center here in Cincinnati. It is challenging at times to juggle all of my commitments, but it has worked out so far! For me, it is very important to get enough rest and to take care of my voice and body, especially on days when I’m working from </span><span class="aBn" data-term="goog_1297318846" style="border-bottom: 1px dashed rgb(204, 204, 204); font-family: Arial; font-size: 9.5pt; position: relative; text-indent: 36pt; top: -2px; white-space: pre-wrap; z-index: 0;" tabindex="0"><span class="aQJ" style="position: relative; top: 2px; z-index: -1;">9am-10pm</span></span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; white-space: pre-wrap;">. </span></div>
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<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>What was your big influencer in music? How did you become interested in singing Baroque music? </i></b></span></div>
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<span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; white-space: pre-wrap;">In my childhood, my sister, a fabulous and successful soprano, was my biggest musical influence. My parents had begun taking her to voice lessons at the recommendation of her music teacher at school. It was one hour round trip, plus an hour long voice lesson that I tagged along for, and I eventually decided that if I had to go anyway, I wanted voice lessons, too. It’s hard to imagine how else I would have found my path in music had it not been for those lessons.</span></div>
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<span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; white-space: pre-wrap;">Throughout school, I had many wonderful music teachers: Mrs. Bartlett, Mrs. Graffius, Ms. Knataitis, and Mrs. Ferris. They all gave me encouragement and opportunities in different ways, and they all meant so much to me. Every single one of these teachers helped nurture music in me and allowed me to share and express my passion with others. </span></div>
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<span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">During a production of Monteverdi’s </span><span style="font-family: Arial; font-size: 9.5pt; font-style: italic; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">Il combattimento di Trancredi e Clorinda</span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">, I met you- Annalisa Pappano! I was recommended to you by Robin Guarino, head of the CCM opera program, for one of your upcoming concerts. After I agreed to do the concert, I took a look at the music- 17</span><span style="font-family: Arial; font-size: 5.7pt; text-indent: 36pt; vertical-align: super; white-space: pre-wrap;">th</span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;"> Century Italian nun music. As I had sung Palestrina, Gabriellei, Allegri, and many others in church choir, I wasn’t expecting the music to be too much of a challenge. There was my naivety again! After looking at the first song, I realized I was in over my head. I remember the feeling of pure joy when I first heard the theorbo, baroque harp, and viol all playing together. Not only did I get to hear and see them up close and personal: I got to sing with them, too. The style felt very natural to me, and I fell in love with the music.</span></div>
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<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>How did you learn to sing this music? What do you like about early music?</i></b></span></div>
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<span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">Though my voice felt very natural in the Baroque style and I had heard recordings of some pieces from the 17th century, like Carissimi </span><span style="font-family: Arial; font-size: 9.5pt; font-style: italic; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">Jephte</span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">, Monteverdi’s </span><span style="font-family: Arial; font-size: 9.5pt; font-style: italic; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">L’incoronazione di Poppea</span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">, and Peri’s </span><span style="font-family: Arial; font-size: 9.5pt; font-style: italic; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">Euridice</span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">, I did not know any of the rules of the style. I read several articles about 17th century vocal ornaments and asked a lot of questions! My voice teacher at CCM, Mary Stucky, is an avid performer of baroque music. She was a huge help to me when I was learning the music for my first Catacoustic Consort concert. </span></div>
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<span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">A huge component of this music is text painting. While this is also the case in some more modern music, you are expected to sing what is on the page. In Baroque music, there is more of an opportunity to become an artist yourself; a composer of the music. I love being a part of a piece in this way. No performance is ever the same as one you’ve done before or the performances that will come, no matter the style. What I like about Baroque music is that the performances are even more different. I love the experimental flexibility with the ornaments. I love exploring different ways to convey pain, joy, sadness, anxiousness, and love. I love the interplay between singer and instrumentalist. Again, there are certain rules one should follow within the style, but I have been intrigued by the conversations around chords amongst instrumentalists. The chordal qualities make a huge difference in a piece. These creative aspects of Baroque are what draw me in the most. </span><span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;"> </span></div>
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<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"><i><b>Tell us the difference between singing Baroque music (performance practice) versus the classical music that you studied in music school and sing for everyday work.</b></i></span></div>
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<span style="font-family: Arial; font-size: 9.5pt; text-indent: 36pt; white-space: pre-wrap;">The basic technique is the same for all types of classical music- Baroque, Classical, Romantic, 20th, and 21st Century. Most importantly, you need to stay connected to your breath. This was a challenge for me when I first approached the Baroque style. The Classical and Romantic styles call for a smooth, clear vocal line with a consistent vibrato. The Baroque style requires you to use your voice differently. Vibrato should not be prominent throughout. Vibrato is an ornament, just like straight tone, trillos, and gruppos. I found this to be quite difficult. Executing all of these ornaments and switching between a straighter tone and singing with consistent vibrato was confusing to my body. The more I sang in the style, the more natural theses changes became. </span></div>
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<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>Tell us about the music on this Italian recording you will make with Catacoustic. How does it make you feel, how is it to listen to?</i></b></span></div>
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<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"><br class="m_7796480203622977010gmail-kix-line-break" /></span><span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;">I am very excited about the Italian music we will be recording in the fall. I have performed several of the pieces before, which I find helpful. It gives your body and mind a sense of confidence and is nice to have that familiarity for your mind and your muscles. Several of the solos I will be recording deal with- you guessed it- love lost! </span></div>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12pt;">"Hope," Love said to me,<b><o:p></o:p></b></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">But how can I hope?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">For in the midst of
suffering,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">Hope to an unhappy
one is torment.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">If, in the midst of
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<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">My joy, my love, enies
sweet succor to my martyrdom,<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">I will hope, oh
yes, but to die.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">Hope, hope, my
heart,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">Fate will kill you.<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">O false desire!<o:p></o:p></span></div>
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<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">In vain does one
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<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">My idol, my life, wants
me, deprived of all aid,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-theme-font: minor-fareast;">To live in hope; I
am content,</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 12pt;">And I will hope, oh yes,
but for my torment.</span></div>
<div dir="ltr" style="font-family: arial, sans-serif; font-size: 12.8px; line-height: 1.38; margin-bottom: 0pt; margin-left: 72pt; margin-top: 0pt; text-size-adjust: auto;">
<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>
<div dir="ltr" style="font-family: arial, sans-serif; font-size: 12.8px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-size-adjust: auto;">
<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;">This is a beautifully heartbreaking song by the Italian composer </span><span style="font-family: Roboto; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">Orazio Michi "dell'Arpa"- his nickname (the harpist). The piece is introduced with a deep arpeggiated minor chord played by the harp, followed by the first vocal statement. </span><span style="font-family: Roboto; font-size: 10pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Spera</span><span style="font-family: Roboto; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;"> is my favorite solo for the recording. The music is extremely evocative of the text, utilizing large leaps, changes back and forth between major and minor, and has the opportunity for several dramatic ornaments. These 17th century Italian laments speak to my soul and feel like a new experience each time I sing them. With songs like these, the baroque harp, and the lirone, you can’t go wrong!</span></div>
<div dir="ltr" style="font-family: arial, sans-serif; font-size: 12.8px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-size-adjust: auto;">
<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"><b><i><br /></i></b></span></div>
<div dir="ltr" style="font-family: arial, sans-serif; font-size: 12.8px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-size-adjust: auto;">
<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"><b><i>What do you think about the performing world of early music versus the opera community? How are they different or similar?</i></b></span></div>
<br style="font-family: arial, sans-serif; font-size: 12.8px; text-size-adjust: auto;" />
<div dir="ltr" style="font-family: arial, sans-serif; font-size: 12.8px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-size-adjust: auto;">
<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;">I find myself more at ease in the world of early music than in the opera community. To me, it doesn’t feel like I have anyone to impress. I feel that I can be myself and show my artistry, and that is enough. This might come from something I mentioned earlier. I think the freedom within music of the baroque as an artist puts me at ease within the style, and affects the social aspect for me. People within the early music world are truly passionate about this music, and I find it very inspiring. </span></div>
<div dir="ltr" style="font-family: arial, sans-serif; font-size: 12.8px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-size-adjust: auto;">
<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"> </span></div>
<div dir="ltr" style="font-family: arial, sans-serif; font-size: 12.8px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-size-adjust: auto;">
<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;"><i><b>How would you like to see your career go with early music? What would you say a singer should do if they want to sing Baroque music?</b></i></span></div>
<br style="font-family: arial, sans-serif; font-size: 12.8px; text-size-adjust: auto;" />
<div dir="ltr" style="font-family: arial, sans-serif; font-size: 12.8px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-size-adjust: auto;">
<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;">I would like to perform more early music concerts and perform more baroque opera. In general, I would like to be able to make my living from performing. I find performing so fulfilling, and I love the process just as much as I love the performances. I want to be the soprano everyone is asking for. I want to be the best at what I do. </span></div>
<br style="font-family: arial, sans-serif; font-size: 12.8px; text-size-adjust: auto;" />
<div dir="ltr" style="font-family: arial, sans-serif; font-size: 12.8px; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-size-adjust: auto;">
<span style="font-family: Arial; font-size: 9.5pt; vertical-align: baseline; white-space: pre-wrap;">If a singer is interested in singing Baroque music, they should first be familiar with the style- listen to recordings of Baroque songs and arias performed by true Baroque singers. Not every voice is meant for Baroque music, just as not everyone has a Puccini or Verdi voice, or a voice for popular music. It is best to sing this music initially with your natural voice and then experiment with ornaments and bringing out that Baroque quality in your voice. It has become more accepted to have singers who are not well-versed in or appropriate for the Baroque style to be singing this genre. I find it exciting when I hear singers who really understand the style and use all of their knowledge to create something really spectacular. I hope to be one of those artists.</span></div>
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</style>Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com1tag:blogger.com,1999:blog-8196574262528311887.post-20942977846361977172017-03-01T08:06:00.000-08:002017-04-03T09:24:49.409-07:00Cincinnati Early Music Festival 2017 Wrap-up<br />
<div style="margin: 0px 0px 11px;">
<span style="font-family: "calibri";">A few thoughts at the close of Cincinnati Early Music
Festival 2017.</span></div>
<br />
<div style="margin: 0px 0px 11px;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">The numbers:</span></i><span style="font-family: "calibri";"> 24
different groups, made up of 368 musicians, entertained audiences totaling 1690
people, at 11 venues, in 8 neighborhoods around the city and northern Kentucky.</span></div>
<br />
<div style="margin: 0px 0px 11px;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">Range of music played:</span></i><span style="font-family: "calibri";">
The oldest piece was performed by </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Harpers
Robin</span></b><span style="font-family: "calibri";">, a Viking-derived Nobilis <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinPxi7NCCHKdu02-ZLdU6_9IKluvuFV9xg8KFJEB3Hl8SesKo6lD2qArHez3-qv4zsLO879r5cAElcE1K-YGEMKfUveUynxfv8b6-12y7eX4rKTXbDfsaZw8kaPe3aTumNCW9Ru7fmOvM/s1600/IMG_3485.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinPxi7NCCHKdu02-ZLdU6_9IKluvuFV9xg8KFJEB3Hl8SesKo6lD2qArHez3-qv4zsLO879r5cAElcE1K-YGEMKfUveUynxfv8b6-12y7eX4rKTXbDfsaZw8kaPe3aTumNCW9Ru7fmOvM/s200/IMG_3485.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div>
Break it down, boys</div>
<div>
<br /></div>
</td></tr>
</tbody></table>
Humilis from the 1100s (at least). The
newest was some music snuck in by </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Fleurs
de Lys</span></b><span style="font-family: "calibri";"> composed in 1924. Unless you count a couple of outbursts of
improvisation, which happened at Harpers Robin and again at Classical Revolution
(Chris Wilke and Bill Willets). Then you get a true millennium of music, a full
1000 years.</span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAFyqCF8QcMaCkZSvhr2AW3HfSdsdQCeGqBztVzNuUX9HBeX3g7DrKFq461yf5bT0IFHkelxVsEaqSm3r7i5t26KkHpEJAMfIqsq0gXtFAn8ZcbGbHHLUC0pVSM5udA8mE5v1g9pcAkPE/s1600/IMG_3566.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAFyqCF8QcMaCkZSvhr2AW3HfSdsdQCeGqBztVzNuUX9HBeX3g7DrKFq461yf5bT0IFHkelxVsEaqSm3r7i5t26KkHpEJAMfIqsq0gXtFAn8ZcbGbHHLUC0pVSM5udA8mE5v1g9pcAkPE/s200/IMG_3566.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Collegium Vocale</td></tr>
</tbody></table>
<div style="margin: 0px 0px 11px;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">Most featured
composer:</span></i><span style="font-family: "calibri";"> This would have to be Heinrich Sch</span><span style="margin: 0px;"><span style="font-family: "calibri";">ü</span></span><span style="font-family: "calibri";">tz (1585-1672). This greatest
of the pre-Bach Germans was given an airing by the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Cathedral Choir</span></b><span style="font-family: "calibri";"> during Christ Church Evensong, by the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Knox</span></b><span style="font-family: "calibri";"> </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Choir</span></b><span style="font-family: "calibri";">, and by </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Collegium
Vocale</span></b><span style="font-family: "calibri";">. The music was beautiful, a Renaissance-Baroque hybrid that conveyed
both the lyrics and the emotions equally well. A favorite moment came at the
Evensong when the line “He has scattered the proud” focused on the word “zerstreuet”
(scattered). Thrown out asynchronously by the various voices, all those sibilances
ricocheted off each other and painted a perfect sound picture of catastrophic
scattering.</span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgreMwWnvr9u5TqaWBixbPjnkUQY7mnmJnooNUrumjUFUqVXfjE4hpPEiihvUlR6tqNOwLGIJOFqJp_lILkvUIb1fxNwDeSasvPWud-GIsnlue9YP3h-BZ3IoYRabrfIGZUJ1OgbTrVxAs/s1600/IMG_3547.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgreMwWnvr9u5TqaWBixbPjnkUQY7mnmJnooNUrumjUFUqVXfjE4hpPEiihvUlR6tqNOwLGIJOFqJp_lILkvUIb1fxNwDeSasvPWud-GIsnlue9YP3h-BZ3IoYRabrfIGZUJ1OgbTrVxAs/s200/IMG_3547.JPG" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jaap ter Linden</td></tr>
</tbody></table>
<div style="margin: 0px 0px 11px;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">Most unexpected
appearances by an instrument:</span></i><span style="font-family: "calibri";"> This would be the cellos. They were
everywhere! Colin Lambert with the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Caladrian
Ensemble</span></b><span style="font-family: "calibri";">, Jennifer Jill Araya with </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Fleurs
de Lys</span></b><span style="font-family: "calibri";">, Christina Coletta with the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Knox
Choir</span></b><span style="font-family: "calibri";">, Erik Anderson with the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Bach
Ensemble</span></b><span style="font-family: "calibri";">, David Myers with </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Collegium
Vocale</span></b><span style="font-family: "calibri";">, and Tom Guth with </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Collegium
Cincinnati</span></b><span style="font-family: "calibri";">, who tackled Bach like a boss. Although unplanned, the cello
cohort fit in well with this year’s superstar guest, the magnificent </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Jaap ter Linden</span></b><span style="font-family: "calibri";">. Along with </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Catacoustic Consort</span></b><span style="font-family: "calibri";">, he brought the
house down with his effortless command of all the tricks up the cello’s sleeve,
his entire Bach suite played from memory, his evident delight in playing duets
with Annalisa Pappano on viola da gamba, a combo that doesn’t happen every day.
Or, in the case of Cincinnati, ever. Cellos rule!</span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8eOvzwtTLVm_KpLA8DVYazoOjsf9PNYEc-tdiXGt1Q7vsJWPXTJmK7hKBfQKooJEb1axLJiQ-bEYQCwtAF5oXnRsh-L-zNYnDSpohynQ_MDmL60G4djfVuv1mHG7kWMIVH1n8JvtCRMo/s1600/IMG_3512.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8eOvzwtTLVm_KpLA8DVYazoOjsf9PNYEc-tdiXGt1Q7vsJWPXTJmK7hKBfQKooJEb1axLJiQ-bEYQCwtAF5oXnRsh-L-zNYnDSpohynQ_MDmL60G4djfVuv1mHG7kWMIVH1n8JvtCRMo/s200/IMG_3512.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div>
Chris Wilke & Rod Stucky</div>
<div>
<br /></div>
</td></tr>
</tbody></table>
<div style="margin: 0px 0px 11px;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">Performer with the
fullest dance card:</span></i><span style="font-family: "calibri";"> </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Chris Wilke</span></b><span style="font-family: "calibri";">,
no contest. Over the course of the month, Chris partnered with violinist
Jennifer Roig-Francoli, soprano Fotina Naumenko, lutenist Bill Willits, and
guitarist Rod Stucky. We are glad to have him in town.</span></div>
<div style="margin: 0px 0px 11px;">
<span style="font-family: "calibri";"><br /></span></div>
<div style="margin: 0px 0px 11px;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">Some favorite moments:</span></i><span style="font-family: "calibri";"> </span></div>
<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><span style="font-family: "calibri";">--The audience hanging over the
balcony railings at the Cincinnati Art Museum when </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Schola</span></b><span style="font-family: "calibri";"> </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Cincinnati </span></b><span style="font-family: "calibri";">wafted
into that Renaissance music that the echoey Great Hall loves. Come for the art,
stay for the music!</span></div>
<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><span style="font-family: "calibri";">--The energetic treatment of
Passacaglia della Vita by Jackie Stevens and the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Shakespeare Band</span></b><span style="font-family: "calibri";">, as she gaily reminded us of our approaching
ends:</span><span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><span style="font-family: "calibri";">Bisogna morire!</span></div>
<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><span style="font-family: "calibri";">--The charming selection Mein Gl</span><span style="margin: 0px;"><span style="font-family: "calibri";">ä</span></span><span style="font-family: "calibri";">ubiges
Herze from Bach’s Cantata 68. It was lovely, and can I just say how good the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Bach Ensemble of St. Thomas</span></b><span style="font-family: "calibri";"> sounded
this year?</span></div>
<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><span style="font-family: "calibri";">--The final piece of the final
event was the eternally spectacular Pianto della Madonna by Sances, sung by Danielle
Adams with </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Elizabeth Motter</span></b><span style="font-family: "calibri";">,
WeiShuan Yu, and Annalisa Pappano. This is exactly the kind of music that early
music lovers wish the rest of the world knew about. </span></div>
<div style="margin: 0px;">
<span style="font-family: "calibri";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="margin: 0px;">
<span style="font-family: "calibri";"><br /></span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-156376463303076502017-02-20T06:13:00.000-08:002017-02-20T06:13:01.169-08:00Early Music Festival Week 4<br />
<div style="margin: 0px 0px 11px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">The final week of the Cincinnati Early Music Festival is
already upon us – February always flies by, doesn’t it? We have three events
remaining, and they make for an exciting finale.</span></div>
<div style="margin: 0px 0px 11px;">
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEbvm3e3WzJCMsKCRg3sZ-iiNko3hdhYRVNsklKF65jDJxpRUmWYLFMJa6hBypNRj_82mVqG8ZNxuINH8W9Y7Hds7uxaN-UxEWWlSeLTWuoWvxqnHNzPJ3Qm5b4mN4dHLH3vY1SGzbhg0/s1600/Knox+Choir+of+Knox+Presbyterian+Church.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEbvm3e3WzJCMsKCRg3sZ-iiNko3hdhYRVNsklKF65jDJxpRUmWYLFMJa6hBypNRj_82mVqG8ZNxuINH8W9Y7Hds7uxaN-UxEWWlSeLTWuoWvxqnHNzPJ3Qm5b4mN4dHLH3vY1SGzbhg0/s200/Knox+Choir+of+Knox+Presbyterian+Church.jpg" width="200" /></a></div>
<div style="margin: 0px 0px 11px;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Sunday, Feb 26, 11am</span></i><span style="font-family: "arial" , "helvetica" , sans-serif;">.
Once again the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Knox Choir</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> at Knox
Presbyterian in Hyde Park dips into the infinite works of Heinrich Sch</span><span style="margin: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">ü</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">tz.
Along with full instrumental ensemble, they will perform some of his Concertato
Motets from 1648 and 1650. This performance is part of a Presbyterian church service, to
which all are welcome. </span><a href="http://catacoustic.com/event/schutz-at-knox-2/?instance_id=411"><span style="color: #0563c1; font-family: "arial" , "helvetica" , sans-serif;">http://catacoustic.com/event/schutz-at-knox-2/?instance_id=411</span></a></div>
<div style="margin: 0px 0px 11px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<br />
<div style="margin: 0px 0px 11px;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Sunday, Feb 26, 7:30.</span></i><span style="font-family: "arial" , "helvetica" , sans-serif;">
Tonight is the exciting return of </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Vicars
Choral</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;">, a vocal ensemble that</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB-afG3ojZ3wQLRUQXXAXtt3nQ-tKW51eYhodoc39TgzUeQpOpyW3Wlj9213I8mb5_IQVFRw0sbz7vdRkDc18SqNTeJaSryRUUKQbyDs9Muf2yZgjmVyUaM9fEfzOnDqOaP0hvXW0y4X4/s1600/Schutz.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB-afG3ojZ3wQLRUQXXAXtt3nQ-tKW51eYhodoc39TgzUeQpOpyW3Wlj9213I8mb5_IQVFRw0sbz7vdRkDc18SqNTeJaSryRUUKQbyDs9Muf2yZgjmVyUaM9fEfzOnDqOaP0hvXW0y4X4/s200/Schutz.jpg" style="cursor: move;" width="133" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"> has delighted audiences for the last two
years with music of the Renaissance. This year represents a departure for them,
in two ways. First, they are moving into the Baroque, with a concert of music
by Heinrich Sch</span><span style="margin: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">ü</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">tz, the great master of German music before JS Bach, music
from his </span><span style="line-height: 107%; margin: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Musikalische Exequien from 1636.
Second, the Vicars will be joining forces with </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Collegium Vocale</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;">. This is a new ensemble born of the CCM Early
Music Lab. Students from undergraduate through the uppermost degrees are
exploring the treasures of early vocal music. The combined groups should be
worthy of their subject. This concert is free and in Hyde Park – don’t miss it.
</span></span><a href="http://catacoustic.com/event/vicars-choral/?instance_id=413"><span style="line-height: 107%; margin: 0px;"><span style="color: #0563c1; font-family: "arial" , "helvetica" , sans-serif;">http://catacoustic.com/event/vicars-choral/?instance_id=413</span></span></a></div>
<div style="margin: 0px 0px 11px;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<div class="separator" style="clear: both; text-align: center;">
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<i style="mso-bidi-font-style: normal;"><span style="line-height: 107%; margin: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Tuesday, Feb 28, 12noon.</span></span></i><span style="line-height: 107%; margin: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> This final concert of the Festival is
particularly exciting because it is, in some ways, another debut! </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Elizabeth Motter</span></b><span style="font-family: "arial" , "helvetica" , sans-serif;">, well-known
concert harpist, decided a few years ago to add Early Music to her skill
set. She was the first ever recipient of the Catacoustic Early Music
Development Grant, which kick-started her training in Baroque triple harp (which is remarkably different from the modern harp.)
Since then she has performed numerous times with Catacoustic and other
ensembles both in the US and abroad. She has become an invaluable addition to
the local early music scene. And today is the first time she has presented her
own recital. Join us at one last Music Live at Lunch at Christ Church downtown for 17</span><sup><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">th</span></sup><span style="font-family: "arial" , "helvetica" , sans-serif;">
century Italian music, including soprano Danielle Adams and gambist WeiShuan
Yu, and, of course, one of the only Baroque triple harp specialists in the US
today, our own Elizabeth Motter. </span></span><a href="http://catacoustic.com/event/elizabeth-motter/?instance_id=415"><span style="line-height: 107%; margin: 0px;"><span style="color: #0563c1; font-family: "arial" , "helvetica" , sans-serif;">http://catacoustic.com/event/elizabeth-motter/?instance_id=415</span></span></a></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com1tag:blogger.com,1999:blog-8196574262528311887.post-10066945725160168972017-02-13T06:08:00.000-08:002017-02-13T06:08:59.878-08:00Early Music Festival Week 3<br />
<div style="margin: 0px 0px 11px;">
<span style="font-family: "calibri";">We have five events this week, and it’s an interesting
line-up</span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
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<div style="margin: 0px 0px 11px;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">Friday Feb 17, 8:00</span></i><span style="font-family: "calibri";">,
at St John United Church of Christ in Bellevue, KY, as part of their February
music series “Music on the Avenue,” a duo of Baroque guitars. </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Rod Stucky</span></b><span style="font-family: "calibri";">, professor of guitar and
lute at UC-CCM, and lutenist/guitarist/recording artist </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Chris Wilke</span></b><span style="font-family: "calibri";"> will explore the music of this sometimes-overlooked
instrument. Until the 18</span><sup><span style="font-family: "calibri"; font-size: x-small;">th</span></sup><span style="font-family: "calibri";"> century, the lute was considered the king
of instruments, but during the final century of the Baroque era the guitar
started making inroads in popularity among both performers and composers. Rod
and Chris will take us on a tour of this crucial century for the guitar.</span><span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><span style="font-family: "calibri";">Free.</span><span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><a href="http://catacoustic.com/event/rodney-stucky-and-christopher-wilke-baroque-guitars/?instance_id=402"><span style="color: #0563c1; font-family: "calibri";">http://catacoustic.com/event/rodney-stucky-and-christopher-wilke-baroque-guitars/?instance_id=402</span></a></div>
<div style="margin: 0px 0px 11px;">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1iS-TazvGIT8KgV1rQC6rimMY5UWmIewaW4Fm-VQFwJEVP1pmDJEJCDQwn1YFpY-m5arSPQHbji5YNQfFy8LVxayOS6_FIAqzPwHG7KSR7NBWk6dP8WfEdE28L2eTSIcBx4lVmc417x4/s1600/Choir-Medieval-Ladies.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1iS-TazvGIT8KgV1rQC6rimMY5UWmIewaW4Fm-VQFwJEVP1pmDJEJCDQwn1YFpY-m5arSPQHbji5YNQfFy8LVxayOS6_FIAqzPwHG7KSR7NBWk6dP8WfEdE28L2eTSIcBx4lVmc417x4/s200/Choir-Medieval-Ladies.jpg" width="162" /></a><i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">Saturday Feb 18, 10am.</span></i><span style="font-family: "calibri";">
This morning is your chance to participate in the most elemental music of all. </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Come and Sing!</span></b><span style="font-family: "calibri";"> means everyone,
regardless of experience, is welcome to give early music a try. Cambridge-trained
choral conductor Matthew Swanson will be ringmaster as we raise our voices in
madrigals, motets, rounds, chants, and other music that our ancestors knew and
loved. The atmosphere is warm and supportive, and last year’s group had a
terrific time, as I can personally testify. Don’t be shy – come and have fun on
a Saturday morning!</span><span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><span style="font-family: "calibri";">Free, of course, and
in the sun-drenched chapel at Church of the Redeemer in Hyde Park.</span><span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><a href="http://catacoustic.com/event/come-and-sing-2/?instance_id=404"><span style="color: #0563c1; font-family: "calibri";">http://catacoustic.com/event/come-and-sing-2/?instance_id=404</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBEf8LNadTT3QN8PaipHJ2BLIHFt9QnzgeoscIoIBn1pMMq2SGYjGTjHrk2DatyU8tKulxX4Gzf5-FNoYFK5Rd5yK5HZZF3XytC-AehJY082BySZFCqhxXl7CTdOYw0ZNZrxpnBfNyP-M/s1600/Young_Bach2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBEf8LNadTT3QN8PaipHJ2BLIHFt9QnzgeoscIoIBn1pMMq2SGYjGTjHrk2DatyU8tKulxX4Gzf5-FNoYFK5Rd5yK5HZZF3XytC-AehJY082BySZFCqhxXl7CTdOYw0ZNZrxpnBfNyP-M/s200/Young_Bach2.jpg" width="145" /></a><i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">Saturday, Feb 18,
4:00. </span></i><span style="font-family: "calibri";">Returning from last year, when it played to a packed house at Christ
Church Cathedral downtown, </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Bach CantataFest
</span></b><span style="font-family: "calibri";">is exactly what the name suggests. Five cantatas by Bach, (numbers 86, 95,
106, 131, 196, for those of you keeping score) sung by five choirs from around
the city, including the Cincinnati Boychoir, the Walnut Hills High School
Chamber Choir, the Edgecliff Vocal Ensemble from Xavier U, the Christ Church
Cathedral Choir, and the hosting ensemble Collegium Cincinnati. If you love
Bach, or if you love the high Baroque, or if you just love choral singing, you
won’t want to miss this. Tickets $10.</span><span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><a href="http://catacoustic.com/event/bach-cantata-fest-2/?instance_id=406"><span style="color: #0563c1; font-family: "calibri";">http://catacoustic.com/event/bach-cantata-fest-2/?instance_id=406</span></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">Sunday Feb 19, 3:00.</span></i><span style="font-family: "calibri";">
</span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Catacoustic Consort</span></b><span style="font-family: "calibri";"> is the Early
Music Festival’s </span></div>
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<span style="font-family: "calibri";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx_LpSxDcm2Ae95S1h4IE2d62I18DP2Gnql-q4qLVoWFbN4FCkpPky1aipnOWSBLbo5FziGgDZGRUOO6tozr5efTAr0K6E6jwrBMQnUW8EpIS2YKUlMgCdDOZvEiMREQLGAexyjJPbqY0/s1600/jtlindensmall.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx_LpSxDcm2Ae95S1h4IE2d62I18DP2Gnql-q4qLVoWFbN4FCkpPky1aipnOWSBLbo5FziGgDZGRUOO6tozr5efTAr0K6E6jwrBMQnUW8EpIS2YKUlMgCdDOZvEiMREQLGAexyjJPbqY0/s1600/jtlindensmall.jpg" /></a></span></div>
<span style="font-family: "calibri";">hosting organization. Their annual concert is always a
highlight of the Festival, but never more than this year. To our delight, we
will be presenting the most renowned Baroque cellist in the world, </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Jaap ter Linden</span></b><span style="font-family: "calibri";">. He will perform music
of Telemann, Bach, Geminiani, and others. Cancel your other plans – you may
never again get a chance to hear this music played at this level. Tickets $25,
$10 student.</span><span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><a href="http://catacoustic.com/event/catacoustic/?instance_id=408"><span style="color: #0563c1; font-family: "calibri";">http://catacoustic.com/event/catacoustic/?instance_id=408</span></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7E00qlDmk0wsVwSJFN8eduwZPuzy0SNg9RuRj6JWHxbqdIzDN-26mMsHyOUoZmsB3IKlJ96wdxKbSsl7dApnIX98uVyiz-DEFZRSRJQof3nAfe2BgRl0E9d64Chc4JZGyl7-3Lp5r12g/s1600/cintirecorderconsortsmall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7E00qlDmk0wsVwSJFN8eduwZPuzy0SNg9RuRj6JWHxbqdIzDN-26mMsHyOUoZmsB3IKlJ96wdxKbSsl7dApnIX98uVyiz-DEFZRSRJQof3nAfe2BgRl0E9d64Chc4JZGyl7-3Lp5r12g/s200/cintirecorderconsortsmall.jpg" width="200" /></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">Tuesday Feb 21, 12noon</span></i><span style="font-family: "calibri";">.
Today’s lunchtime concert at Christ Church Cathedral downtown will feature the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Cincinnati Recorder Consort</span></b><span style="font-family: "calibri";">. Eight
musicians, most professional or semi-professional, offer up the entire recorder
family, including giant bass instruments that stand on the floor and tiny
sopraninos unplayable by all but the slimmest fingers. They’ll be playing music
from the Renaissance (the divine William Byrd!) and the Baroque (the awesome
Orlando Gibbons!).</span><span style="margin: 0px;"><span style="font-family: "calibri";"> </span></span><span style="font-family: "calibri";">Free. </span><a href="http://catacoustic.com/event/cincinnati-recorder-consort-2/?instance_id=410"><span style="color: #0563c1; font-family: "calibri";">http://catacoustic.com/event/cincinnati-recorder-consort-2/?instance_id=410</span></a></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-22907145195895439482017-02-06T06:41:00.003-08:002017-02-06T06:41:18.383-08:00Early Music Festival 2017 Week 2<br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Week 2 of the Festival is typically busy, and this year is
no exception, with SIX events. </span><span style="line-height: 107%; margin: 0px;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Three
of these are debut performances of new ensembles.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-go3vFpQZKX4kZM6HXlSoadawD6O2Ief6A6qekpuJhN1wpIYmbHpZdRyObPflYUjU8hSQNI6uuSKSup_2qTFXTYG4GDVWm19DBl2Wn17cknuFQ7W71t4zvGnnxsesWVeg8DOPMDyDfY/s1600/Schola+black+small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><img border="0" height="88" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-go3vFpQZKX4kZM6HXlSoadawD6O2Ief6A6qekpuJhN1wpIYmbHpZdRyObPflYUjU8hSQNI6uuSKSup_2qTFXTYG4GDVWm19DBl2Wn17cknuFQ7W71t4zvGnnxsesWVeg8DOPMDyDfY/s200/Schola+black+small.jpg" width="200" /></span></a><i style="mso-bidi-font-style: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Friday, Feb 10, at
7:30 </span></i><span style="font-family: "times" , "times new roman" , serif; font-size: large;">is the inaugural performance of </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Schola
Cincinnati</span></b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">, a new professional vocal ensemble dedicated to music of the
Renaissance. Founder Jason Harris, a Grammy winner formerly of Oberlin, is a
man with a mission: to give the city an ensemble that ranks with the best-known
groups in the US. His hand-picked singers will debut with music composed around
the poetry of the </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Song of Solomon</span></i><span style="font-family: "times" , "times new roman" , serif; font-size: large;">.
Lassus, Palestrina, Victoria, and others all mined this most secular book of
the Bible for lyrics literal and allegorical, romantic and sacred. The
beautiful acoustics of St Peter in Chains downtown will add to the experience.
Come help break a champagne bottle across the bow of this ambitious project.
Tickets $15, $5 students.</span><span style="margin: 0px;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"> </span></span><a href="http://catacoustic.com/event/enclosed-garden/?instance_id=397"><span style="color: #0563c1; font-family: "times" , "times new roman" , serif; font-size: large;">http://catacoustic.com/event/enclosed-garden/?instance_id=397</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0EbawpdJ2lYgQaj360u2IoRgcFBUmr5WNyO2je6ujIwtxRfZbJFgxvoE3vX-FdTQ3o7RetFxNVCqrqYx_xtZuhL4Zdr7QVze6m6khEYJSa7TJFyAkcuPW5r1PfTzELqC-OTgfqEMXIMs/s1600/caladrianensemblesmall.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0EbawpdJ2lYgQaj360u2IoRgcFBUmr5WNyO2je6ujIwtxRfZbJFgxvoE3vX-FdTQ3o7RetFxNVCqrqYx_xtZuhL4Zdr7QVze6m6khEYJSa7TJFyAkcuPW5r1PfTzELqC-OTgfqEMXIMs/s200/caladrianensemblesmall.jpg" width="200" /></span></a><i style="mso-bidi-font-style: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Saturday, Feb 11, at
3:00</span></i><span style="font-family: "times" , "times new roman" , serif; font-size: large;"> will see another new group to the Festival. </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">The Caladrian Ensemble</span></b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">, newly formed this year, features
instrumental chamber music from the late Baroque era. This concert will present
Jennifer Roig-Francoli on Baroque violin, with music by Bach, Haydn, Rust, and
others, at Old St. Mary’s in Over-the-Rhine. Tickets $10, $7 seniors.</span><span style="margin: 0px;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"> </span></span><a href="http://catacoustic.com/event/caladrian-ensemble/?instance_id=399"><span style="color: #0563c1; font-family: "times" , "times new roman" , serif; font-size: large;">http://catacoustic.com/event/caladrian-ensemble/?instance_id=399</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFG4ieyvOaMAJyxQggASKAA1xceNOrpixy6lrKi4A-aAMmnS1-D0j4RKzk8ac2NcRQEI8o1sgUeM9lEpIuiUHVCUBAiSxhwYHoZIOAkw2UiFfRrWgSKFVNXnIc4EvOgB2Iz8cQg1GIIts/s1600/illuminateds.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFG4ieyvOaMAJyxQggASKAA1xceNOrpixy6lrKi4A-aAMmnS1-D0j4RKzk8ac2NcRQEI8o1sgUeM9lEpIuiUHVCUBAiSxhwYHoZIOAkw2UiFfRrWgSKFVNXnIc4EvOgB2Iz8cQg1GIIts/s200/illuminateds.jpg" width="160" /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ-go3vFpQZKX4kZM6HXlSoadawD6O2Ief6A6qekpuJhN1wpIYmbHpZdRyObPflYUjU8hSQNI6uuSKSup_2qTFXTYG4GDVWm19DBl2Wn17cknuFQ7W71t4zvGnnxsesWVeg8DOPMDyDfY/s1600/Schola+black+small.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><i style="mso-bidi-font-style: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Sunday, Feb 12, 2:00</span></i><span style="font-family: "times" , "times new roman" , serif; font-size: large;">.
The Cincinnati Art Museum in Eden Park presents an occasional concert series called MUSE in
its Great Hall. Today will feature </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Schola
Cincinnati</span></b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">, in an abbreviated repeat performance of their debut on Fri Feb
10. </span><a href="http://catacoustic.com/event/schola-at-the-art-museum/?instance_id=400"><span style="color: #0563c1; font-family: "times" , "times new roman" , serif; font-size: large;">http://catacoustic.com/event/schola-at-the-art-museum/?instance_id=400</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhma9FM6_67Sln1rzpJ0wb_9ap-7G3ISfTq8uKO_QM4HSKDP_5YaC0khF18crT_1aj8LVCXHoQGPe1mUftfK2bvFwRbh-f2r_hOyaJmqKbS_vD3F8WGnVHspZKgZnlsK1iJU9h8gQgl1M/s1600/bachvesperspic.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhma9FM6_67Sln1rzpJ0wb_9ap-7G3ISfTq8uKO_QM4HSKDP_5YaC0khF18crT_1aj8LVCXHoQGPe1mUftfK2bvFwRbh-f2r_hOyaJmqKbS_vD3F8WGnVHspZKgZnlsK1iJU9h8gQgl1M/s200/bachvesperspic.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFG4ieyvOaMAJyxQggASKAA1xceNOrpixy6lrKi4A-aAMmnS1-D0j4RKzk8ac2NcRQEI8o1sgUeM9lEpIuiUHVCUBAiSxhwYHoZIOAkw2UiFfRrWgSKFVNXnIc4EvOgB2Iz8cQg1GIIts/s1600/illuminateds.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><i style="mso-bidi-font-style: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Sunday, Feb 12, 5:00.</span></i><span style="font-family: "times" , "times new roman" , serif; font-size: large;">
Every month the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Cincinnati Bach Ensemble</span></b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">
prepares entire cantatas and other works by Bach, his contemporaries, and his
predecessors, to be sung during Evensong. Every month! This month it’s music by
Bach and Handel, and includes as soloist CSO flautist Randy Bowman. Part of an Episcopal evensong service, to which all are welcome. In Terrace Park.</span><span style="margin: 0px;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"> </span></span><a href="http://catacoustic.com/event/bach-vespers-4/?instance_id=391"><span style="color: #0563c1; font-family: "times" , "times new roman" , serif; font-size: large;">http://catacoustic.com/event/bach-vespers-4/?instance_id=391</span></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Sunday, Feb 12, 8:00.</span></i><span style="font-family: "times" , "times new roman" , serif; font-size: large;">
It’s that time of year:</span><span style="margin: 0px;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"> </span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Classical Revolution</span></b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">!</span><span style="margin: 0px;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"> </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;">The second Sunday of every </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWUO-O2Ft8rArXssJfxsfm4DzLFF3hAI3bsb6dtQTA-5r71WUptJ8g2bDAFVUWvMZJ-1tmBaxY-MLH3zODc5mfMVaym_V45jAkAZqamOwrDyxpFn5499gz7h7rdMxefGj3jOCluRWh8GI/s1600/11000618_382128115302969_8742410041969503028_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"></span></a><span style="font-family: "times" , "times new roman" , serif; font-size: large;">month classical
music comes where people live, at the Northside Tavern in Northside. And every
February the music gets old – really old. A potpourri of ensembles and musical
eras will grace the backroom stage. Past years have included hurdy-gurdy and Viking
songs, Elizabethan tavern songs, lutes, flutes, and surprises galore. Come and
have an ale of a good time.</span><span style="margin: 0px;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"> </span></span><a href="http://catacoustic.com/event/classical-revolution-3/?instance_id=387"><span style="color: #0563c1; font-family: "times" , "times new roman" , serif; font-size: large;">http://catacoustic.com/event/classical-revolution-3/?instance_id=387</span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWUO-O2Ft8rArXssJfxsfm4DzLFF3hAI3bsb6dtQTA-5r71WUptJ8g2bDAFVUWvMZJ-1tmBaxY-MLH3zODc5mfMVaym_V45jAkAZqamOwrDyxpFn5499gz7h7rdMxefGj3jOCluRWh8GI/s1600/11000618_382128115302969_8742410041969503028_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWUO-O2Ft8rArXssJfxsfm4DzLFF3hAI3bsb6dtQTA-5r71WUptJ8g2bDAFVUWvMZJ-1tmBaxY-MLH3zODc5mfMVaym_V45jAkAZqamOwrDyxpFn5499gz7h7rdMxefGj3jOCluRWh8GI/s320/11000618_382128115302969_8742410041969503028_n.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgswA_Zg2qt8ifAgC_TKegtNWiCePcJMH1oMypxOmkBjh7M9mysZIutiNDy02T8ih9y9q-n1tWQm8Na6fLiurwOTs12_PRVu7mJWpe9146ZxONbLHMBgepxC7Ck9B9Zh4ryB_Oct8NkDdg/s1600/Stone-fleur-de-lissmall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgswA_Zg2qt8ifAgC_TKegtNWiCePcJMH1oMypxOmkBjh7M9mysZIutiNDy02T8ih9y9q-n1tWQm8Na6fLiurwOTs12_PRVu7mJWpe9146ZxONbLHMBgepxC7Ck9B9Zh4ryB_Oct8NkDdg/s200/Stone-fleur-de-lissmall.jpg" width="200" /></span></a></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Tuesday, Feb 14,
12:10</span></i><span style="font-family: "times" , "times new roman" , serif; font-size: large;">. One more brand new group will debut this action-packed week. </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Fleurs de Lys</span></b><span style="font-family: "times" , "times new roman" , serif; font-size: large;"> focuses on French music
as performed by strings, winds, and voice. Today’s concert will include music
of Couperin, Moulini</span><span style="margin: 0px;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">é</span></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;">, and others. As usual, bring your lunch or purchase one
at Christ Church downtown for $5.</span><span style="margin: 0px;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"> </span></span><a href="http://catacoustic.com/event/fleur-de-lys/?instance_id=393"><span style="color: #0563c1; font-family: "times" , "times new roman" , serif; font-size: large;">http://catacoustic.com/event/fleur-de-lys/?instance_id=393</span></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgswA_Zg2qt8ifAgC_TKegtNWiCePcJMH1oMypxOmkBjh7M9mysZIutiNDy02T8ih9y9q-n1tWQm8Na6fLiurwOTs12_PRVu7mJWpe9146ZxONbLHMBgepxC7Ck9B9Zh4ryB_Oct8NkDdg/s1600/Stone-fleur-de-lissmall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgswA_Zg2qt8ifAgC_TKegtNWiCePcJMH1oMypxOmkBjh7M9mysZIutiNDy02T8ih9y9q-n1tWQm8Na6fLiurwOTs12_PRVu7mJWpe9146ZxONbLHMBgepxC7Ck9B9Zh4ryB_Oct8NkDdg/s1600/Stone-fleur-de-lissmall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "trebuchet ms" , sans-serif;"></span>Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-58181522406177498252017-01-29T07:12:00.000-08:002017-01-29T07:17:04.662-08:00Early Music Festival Week 1<br />
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<span style="font-family: inherit;">This year’s Early Music Festival opens <i>Saturday, Feb 4</i>, with
two concerts on the west side of town. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAp7TVUSYByH0IXSDqv-SZr3i8FvEta35DH4ABwA_iyhyphenhyphen1rwZqZeKE8KN1IwY1rWm4swO_uBfWC48sVanJOPUuPQmYqqdLlX0bsucPJz_ooWtRJFVpc46ftxo0LwDH6xDCc9sjEzNWJp8/s1600/Harpers2rev.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAp7TVUSYByH0IXSDqv-SZr3i8FvEta35DH4ABwA_iyhyphenhyphen1rwZqZeKE8KN1IwY1rWm4swO_uBfWC48sVanJOPUuPQmYqqdLlX0bsucPJz_ooWtRJFVpc46ftxo0LwDH6xDCc9sjEzNWJp8/s200/Harpers2rev.jpg" width="173" /></a></div>
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<span style="font-family: inherit;">At 2:00, </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: inherit;">Harper’s
Robin</span></b><span style="font-family: inherit;"> will perform their annual concert at the Sisters of Charity
Motherhouse Immaculate Conception Chapel in Delhi. If you’ve never been before,
you owe it to yourself both to experience the beautiful space in this gorgeous,
domed, Baroque chapel – it’s truly lovely – and to hear the music of a harp
choir. The small lever harps this group plays create a different sound than
their big modern concert cousins. The repertoire ranges widely through
centuries and countries, yet the effect is intimate and cohesive. The audience
learns not only about an unusual instrument but about what it’s capable of in
the aggregate. A rare opportunity for a revealing afternoon. Free.</span><span style="margin: 0px;"><span style="font-family: inherit;"> </span></span><span style="font-family: inherit;"><a href="http://catacoustic.com/event/harpers-robin-2/?instance_id=378">http://catacoustic.com/event/harpers-robin-2/?instance_id=378</a></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ_rb7qHLmKZ_NILW6BnvycRScGwvkVoHthd46paHRMh9jXJSda_rcT5Jt5u9vwb5HVtj7xf0hdPzPqowERQU3jzEzo7VvBzPKaDqhPB3g9tml_0ZRudOt33YmwnygG2amoPBqGLiJCGo/s1600/scotbuzza.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ_rb7qHLmKZ_NILW6BnvycRScGwvkVoHthd46paHRMh9jXJSda_rcT5Jt5u9vwb5HVtj7xf0hdPzPqowERQU3jzEzo7VvBzPKaDqhPB3g9tml_0ZRudOt33YmwnygG2amoPBqGLiJCGo/s200/scotbuzza.jpg" width="133" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div>
Cantigium's leader</div>
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<span style="font-family: inherit;">At 7:30 that same evening, </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: inherit;">Cantigium</span></b><span style="font-family: inherit;"> returns to St. Boniface in Northside. Cantigium is a
chamber choir made up of former music students from Xavier who have now been
singing together purely for the love of the thing for several years. Time and
the firm hand of its conductor Scot Buzza have created a purity of sound and
tone unmatched in many professional organizations. The range of music they
tackle goes back to the very oldest written music extant, and in an acoustical
space like St. Boniface the music shimmers as it did when it was new. Insanely,
this concert is free.</span><span style="margin: 0px;"><span style="font-family: inherit;"> </span></span><a href="http://catacoustic.com/event/cantigium-vocal-ensemble-2/?instance_id=395"><span style="color: #0563c1; font-family: inherit;">http://catacoustic.com/event/cantigium-vocal-ensemble-2/?instance_id=395</span></a></div>
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<span style="font-family: inherit;">On <i>Sunday, Feb 5</i>, at 6pm, the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: inherit;">Choral
Evensong</span></b><span style="font-family: inherit;"> at Christ Church Cathedral downtown will feature three works by German
Baroque masters. One is J S Bach, who needs no introduction.</span></div>
<span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB-afG3ojZ3wQLRUQXXAXtt3nQ-tKW51eYhodoc39TgzUeQpOpyW3Wlj9213I8mb5_IQVFRw0sbz7vdRkDc18SqNTeJaSryRUUKQbyDs9Muf2yZgjmVyUaM9fEfzOnDqOaP0hvXW0y4X4/s1600/Schutz.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB-afG3ojZ3wQLRUQXXAXtt3nQ-tKW51eYhodoc39TgzUeQpOpyW3Wlj9213I8mb5_IQVFRw0sbz7vdRkDc18SqNTeJaSryRUUKQbyDs9Muf2yZgjmVyUaM9fEfzOnDqOaP0hvXW0y4X4/s200/Schutz.jpg" width="133" /></a></span><span style="font-family: inherit;">The other is
Heinrich </span><span style="line-height: 107%; margin: 0px;"><span style="font-family: inherit;">Schütz, and you might want to take
note, as Schütz will be featured in several concerts this month. Born in 1585,
exactly 100 years before Bach, he is generally considered the most important
German composer before Bach. He is credited with importing Italian stylistic
innovations into German music, and his influence echoes as far as Brahms and
Webern. If a contemplative hour of prayer seems your best recourse this evening
– this performance is part of an Episcopal service, to which all are welcome –
fall under the influence of these giants in their field. <a href="http://catacoustic.com/event/choral-evensong/?instance_id=379">http://catacoustic.com/event/choral-evensong/?instance_id=379</a></span></span><br />
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<span style="line-height: 107%; margin: 0px;"><br /></span></div>
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<div style="margin: 0px 0px 11px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9hjIFwhJThI13QYaa6aqVlTSx8nqRnP1n_3u4DOeexz8xPuSvEsikgAXiq7j9PWahlSZSG9FUMGAkYr6otNEcO4bsxUDCqQLu-RYJfdEvSDF_NaMe0hyphenhyphenLwboDpcSXTS86yCWLOx-MSLg/s1600/shakesbandsmall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="124" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9hjIFwhJThI13QYaa6aqVlTSx8nqRnP1n_3u4DOeexz8xPuSvEsikgAXiq7j9PWahlSZSG9FUMGAkYr6otNEcO4bsxUDCqQLu-RYJfdEvSDF_NaMe0hyphenhyphenLwboDpcSXTS86yCWLOx-MSLg/s200/shakesbandsmall.jpg" width="200" /></a><span style="line-height: 107%; margin: 0px;"><span style="font-family: inherit;"><i>Tuesday, Feb 7</i>, is the first of a
month of lunchtime early music concerts as part of Christ Church Cathedral’s
Live at Lunch series. Starting at 12:10, the concerts are all free. Bring your
lunch, or purchase the lunch provided for $5. This week, the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: inherit;">Shakespeare Band</span></b><span style="font-family: inherit;">, consisting of lutes,
guitars, bass, and soprano, perform music of Venice, including Monteverdi and
Landi. </span><span style="font-family: inherit;"><a href="http://catacoustic.com/event/shakespeare-band/?instance_id=383">http://catacoustic.com/event/shakespeare-band/?instance_id=383</a></span></span></div>
<span style="font-family: "verdana" , sans-serif;"></span><b></b><i></i><u></u><sub></sub><sup></sup><strike><br /></strike>
Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-69342670042981833512017-01-16T08:35:00.000-08:002017-01-23T11:35:40.095-08:00Cincinnati Early Music Festival 2017<br />
<div style="margin: 0px 0px 11px;">
<span style="font-family: "calibri";">Let’s talk about the Cincinnati music scene for a minute. We
all know it’s extraordinary. But even as <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHUKvBxIVSL1Sihtx-owJGHqM_yEkxbUZNB71csLhzmrc8q210pLdWXMLzEAPLt_xKTdBkKLiAYTl4wdwTBxSryVBUaaNhJTHMOLgOgc8_IhGCJja4yqdWPpYsWc9OW2Je1blKKQ6Q0hQ/s1600/Gustav_Mahlersmall.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHUKvBxIVSL1Sihtx-owJGHqM_yEkxbUZNB71csLhzmrc8q210pLdWXMLzEAPLt_xKTdBkKLiAYTl4wdwTBxSryVBUaaNhJTHMOLgOgc8_IhGCJja4yqdWPpYsWc9OW2Je1blKKQ6Q0hQ/s200/Gustav_Mahlersmall.jpg" width="146" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Does he look a little tired?</td></tr>
</tbody></table>
recently as 15 years ago it felt a
little mired in the tried-and-true. And by that I mean the standard Mozart-Stravinsky spectrum that has nourished the classical music industry for
a century.</span></div>
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<div style="margin: 0px 0px 11px;">
<span style="font-family: "calibri";">A revolution has happened in our city. Cincinnati Opera and
the CSO both regularly perform brand new works, hot off their composers’ hard
drives, often with the composers in attendance. 20</span><sup><span style="font-family: "calibri"; font-size: x-small;">th</span></sup><span style="font-family: "calibri";"> century works
have become so commonplace they aren’t even cause for comment.</span></div>
<br />
<div style="margin: 0px 0px 11px;">
<span style="font-family: "calibri";">And it seems everyone is stretching back in the other
direction, too. Recently the May Festival Chorus calved off a chamber group for
the performance of a Bach Cantata with a reduced and specialized CSO. The city’s
first Baroque opera </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">La Calisto</span></i><span style="font-family: "calibri";"> from a
couple of years ago sold out every show. The second, </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri";">L’incoronazione di Poppea,</span></i><span style="font-family: "calibri";"> is on the schedule for 2018. Audiences
have made it clear that the old spectrum, covering as it did only 150 years of
music, wasn’t nearly wide enough. Not when we should have 1000 years to choose
from.</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCC3ELBLILH6ILz1ONCoHKpLb1AHtj9dkey-2Rpwt9Q5Qj466uy8Ay7TuoSQKd4NG9uHeBjK_q2TP-FhrZPfdc-8UzhSiusZNHlduzyqkTIKXtiHRJz9rzwRDkzPeuj-psqGZtuyEbj3M/s1600/baroqueoperahousesmall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCC3ELBLILH6ILz1ONCoHKpLb1AHtj9dkey-2Rpwt9Q5Qj466uy8Ay7TuoSQKd4NG9uHeBjK_q2TP-FhrZPfdc-8UzhSiusZNHlduzyqkTIKXtiHRJz9rzwRDkzPeuj-psqGZtuyEbj3M/s200/baroqueoperahousesmall.jpg" width="200" /></a></div>
<div style="margin: 0px 0px 11px;">
<span style="font-family: "calibri";">Our institutions have begun to explore outside the old
boundaries, and they have found the smaller ensembles there waiting for them.
Catacoustic Consort has been diving deep into Baroque music for 16 years.
Church choirs like those at St Peter in Chains, Christ Church, and St. Thomas
have begun routinely incorporating Renaissance music into their services. The
CCM Early Music Lab, which allows for specializations in organ, harpsichord,
viola da gamba, lute, and voice, grows every year, as the students clamor for
more opportunities. Professionals have relocated to Cincinnati, realizing that
at last they have a chance at a career in early music right here. When
Classical Revolution puts out the call for early music, so many ensembles sign
up that the music goes late into the night. </span></div>
<br />
<div style="margin: 0px 0px 11px;">
<span style="font-family: "calibri";">This year’s 5</span><sup><span style="font-family: "calibri"; font-size: x-small;">th</span></sup><span style="font-family: "calibri";"> anniversary Early Music Festival
intends to expose the breadth and innovation of the <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQxV72edf3a2iSc5l5Dc7VtP9XfMOmtSHuwEpULLwq0sXvID2x78HwOBidGe1kNvWhBwdmUXE-6H5dPXPhiUDPOm0TGF3ybzcets4D_PBkrTry16vXb43gRKR1rQ0hMaJrYKpgzRwDFcI/s1600/motterharpsmall.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQxV72edf3a2iSc5l5Dc7VtP9XfMOmtSHuwEpULLwq0sXvID2x78HwOBidGe1kNvWhBwdmUXE-6H5dPXPhiUDPOm0TGF3ybzcets4D_PBkrTry16vXb43gRKR1rQ0hMaJrYKpgzRwDFcI/s200/motterharpsmall.jpg" width="132" /></a>smaller ensembles. It is
packed with 18 performances by groups you have come to love, like </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Cantigium</span></b><span style="font-family: "calibri";"> and </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Vicars Choral</span></b><span style="font-family: "calibri";">, and by new groups you won’t want to miss, like </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Schola Cincinnati</span></b><span style="font-family: "calibri";"> and the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Caladrian</span></b><span style="font-family: "calibri";"> </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Ensemble</span></b><span style="font-family: "calibri";">. We have experienced amateurs in the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Shakespeare Band</span></b><span style="font-family: "calibri";"> and the new </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Fleurs
de Lys</span></b><span style="font-family: "calibri";">, and professionals like </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Chris
Wilke and Rod Stucky</span></b><span style="font-family: "calibri";"> on Baroque guitars and </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Elizabeth Motter</span></b><span style="font-family: "calibri";"> on Baroque harp. We’ll have children singing at
the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Bach CantataFest</span></b><span style="font-family: "calibri";">, college
students with the </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">CCM Collegium Vocale</span></b><span style="font-family: "calibri";">,
and the extremely revered, internationally renowned Baroque cellist <b>Jaap ter
Linden</b> with </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Catacoustic</span></b><span style="font-family: "calibri";">. </span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqWUPiqlVbB2IfNpLz6H315NDNj8AcA93UrVC6Jw8DRUGGFrYcN1G6RYa9f6hy8h2_n-_qBMkVdI9IsNrqXbn9VfNrOZAM7uU3Q0vNle2e-YnBLUdrcd0tGnsKm3DQbTfRP4s8vcN2jTI/s1600/comeandsingsmall.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqWUPiqlVbB2IfNpLz6H315NDNj8AcA93UrVC6Jw8DRUGGFrYcN1G6RYa9f6hy8h2_n-_qBMkVdI9IsNrqXbn9VfNrOZAM7uU3Q0vNle2e-YnBLUdrcd0tGnsKm3DQbTfRP4s8vcN2jTI/s200/comeandsingsmall.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Definitely does not look tired</td></tr>
</tbody></table>
<div style="margin: 0px 0px 11px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqWUPiqlVbB2IfNpLz6H315NDNj8AcA93UrVC6Jw8DRUGGFrYcN1G6RYa9f6hy8h2_n-_qBMkVdI9IsNrqXbn9VfNrOZAM7uU3Q0vNle2e-YnBLUdrcd0tGnsKm3DQbTfRP4s8vcN2jTI/s1600/comeandsingsmall.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-family: "calibri";">We even have a return to the do-it-yourself Saturday morning
</span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Come and Sing, </span></b><span style="font-family: "calibri";">where anyone can come
and try singing madrigals, motets, and chants. It’s crazy fun.</span></div>
<br />
<div style="margin: 0px 0px 11px;">
<span style="font-family: "calibri";">The Cincinnati Early Music Festival begins February 4 (</span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "calibri";">Harper’s Robin</span></b><span style="font-family: "calibri";">!). Full details of all
our events can be found at <a href="http://catacoustic.com/festival/">http://catacoustic.com/festival/</a></span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com1tag:blogger.com,1999:blog-8196574262528311887.post-44923278436418137572016-12-04T10:44:00.000-08:002017-01-27T11:55:51.903-08:00Report from the Sixth Catacoustic Grant Winner: Shelby Mass<div style="text-align: left;">
<i>The 2016 winner of Catacoustic's Early Music Grant was Shelby Mass. Shelby is currently a senior at Miami University, majoring in violin performance and Italian. Her hope is to continue on to graduate school and specialize in Baroque performance. She has attended Baroque performance workshops both in the US and in Europe. Her biggest need when she applied for the grant? A Baroque bow! Here is her report:</i></div>
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjUs4jZrFSzrkkLRIdbmEIjtEPXKzfk0yDDwfL4zW-SAzILm95a2YM14lo0uh9s-gX8rAq0hc9ia0P_N-OKd8-iPUC9JhBkIq_Gu3613seyICvx8IwUmt5gpNQ0PwjMTIQSolK3jG7u4w/s1600/Shelby2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjUs4jZrFSzrkkLRIdbmEIjtEPXKzfk0yDDwfL4zW-SAzILm95a2YM14lo0uh9s-gX8rAq0hc9ia0P_N-OKd8-iPUC9JhBkIq_Gu3613seyICvx8IwUmt5gpNQ0PwjMTIQSolK3jG7u4w/s200/Shelby2.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The bow is a Nardi, made of pernambuco</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
The Catacoustic Consort Grant program has enabled me to engage in a project that combines what I know with so much that is totally new. At the Oberlin Baroque Performance Institute [attended this summer] I was stunned by the beauty and depth of this music, and I found myself completely hooked!<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrvGe02-VdK1kYNcis8H7nTC81K22o-Vm3OcpbADy8NPqD4KQ-kTZwsAoZkWve-cvTeT3kUPmRsOBPHv2AxeZVFpvMnSN_J4DB3N5fSdiUqe0TgsdCNEnWv-o9fYuJYu0p6vyFks5IqWQ/s1600/Shelby1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrvGe02-VdK1kYNcis8H7nTC81K22o-Vm3OcpbADy8NPqD4KQ-kTZwsAoZkWve-cvTeT3kUPmRsOBPHv2AxeZVFpvMnSN_J4DB3N5fSdiUqe0TgsdCNEnWv-o9fYuJYu0p6vyFks5IqWQ/s200/Shelby1.jpg" width="200" /></a></div>
<br />
My inspiration is the relationship between humans and their art. A desire to explore the effect that history, philosophy, and music have upon each other led me to seek out resources for taking my search to the next level, and I am very blessed to have been chosen for a scholarship which enabled me to purchase my first Baroque bow. This bow has enabled me to prepare for upcoming auditions to graduate historical performance and performance practice programs. Simply practicing with my Baroque bow has given me a dramatically different understanding of the repertoire which I am studying, and Baroque performance practices have become much easier for me to understand and implement.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5EaaVFtwl7frmDs6_2-xIwd6HbYyiXvNhS-OgfUxeQ43ajWfSHgfoZ-oVTlq5v5zge-VoFq9bW33wBnCks_hk8enkAefyytZUofbCa8Rn61QGm35wjNu-d2kik1GO18RwpYU3YfKWjhk/s1600/Shelby3.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5EaaVFtwl7frmDs6_2-xIwd6HbYyiXvNhS-OgfUxeQ43ajWfSHgfoZ-oVTlq5v5zge-VoFq9bW33wBnCks_hk8enkAefyytZUofbCa8Rn61QGm35wjNu-d2kik1GO18RwpYU3YfKWjhk/s200/Shelby3.png" width="143" /></a></div>
I began my early music adventure this summer with the Oberlin Baroque Performance Institute and an undergraduate summer research project on the contrasts between Baroque and Classical compositional and performance practices, and with my new bow I am now able to engage in continued learning on this subject! I have been so very grateful and happy to be able to work with Catacoustic Consort’s support of this project, and I look forward to sharing what I have learned!<br />
<br />
<i>We're hoping Shelby will get a chance to perform in town during the Cincinnati Early Music Festival in February. </i>Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-81092345941793329482016-11-25T14:19:00.001-08:002016-11-25T14:22:20.822-08:00Colin St-Martin, Baroque Flute Player<div class="MsoNormal" style="border: none; mso-layout-grid-align: none; mso-padding-alt: 0in 0in 0in 0in; mso-pagination: none; text-autospace: none;">
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<b><i>Colin St-Martin (Huntsville, TX) will join Catacoustic for the third time for our December 3 concert of French Baroque Christmas music. He has enjoyed a career as an orchestral musician,
soloist, and teacher. Mr. St-Martin performs and records with many period instrument
orchestras and chamber ensembles in both the US and Europe including: Arcanum,
Opera Lafayette, the Washington Bach Consort, Tafelmusik Baroque
Orchestra, Amercian Bach Soloists, The Boston Early Music Festival
Orchestra, Cathedra, Ars Lyrica, Mercury Baroque, Arcanum, Bach Vespers, among
others. In addition to his performance activities, he has many recordings
to his credit, including the works of Bach, Handel, Vivaldi, Rameau, Rebel,
Lully, Monsigny, Gluck, and Grétry, among others.</i><o:p></o:p></b></div>
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<i><b><br /></b></i></div>
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<i><b>I recently spoke with Colin and asked him some questions, so Catacoustic's audience can know more about his musical life story. Colin's creative, elegant, and natural playing inspires me every time I hear him! </b></i></div>
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<b><br /></b></div>
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<i><b>Tell me about
your musical journey. Did you start with flute? How did you learn about </b></i><i><b>Baroque flute?</b></i></div>
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I've always
been a music lover. I was very lucky as a kid because, in addition to my dad be an avid
audiophile and my mom playing the piano, we had season tickets to the Kennedy Center,
so I had the opportunity to attend concerts quite often. Baroque music has always
been my favorite, which I first experienced through the organ music of JS Bach.
Naturally, I suppose, I wanted to play the organ, but as a child piano had to
be my first step. I
played for a few years, but I didn't (and still don't) have any affinity for
that instrument, so
I let my music studies go for a while. Luckily, I suppose, my oldest brother was required
to take a music appreciation class during his undergraduate studies, which meant he had
to buy a recorder. I began to play it, and after a while my parents suggested that I take
recorder lessons. I was extremely lucky to have found a great teacher who still comes to hear
me play when I'm in DC! For my 14th
birthday (I think?), my parents bought tickets for a recital by the renowned recorder
player Franz Bruggen. I had no idea that he was also going to play the baroque flute on the
same program which was quite the revelation for me, never having seen it performed
before. The very next day I set about trying to find an instrument and a
teacher, which I was very fortunate to be able to do. When it was time for
university, I chose music over science, which I also loved. After an impromptu
audition with Bart Kuijken, my musical idol, backstage at the Smithsonian
Museum, he recommended that before coming to study in Europe that I get a
firmer grasp of the basics (theory, history, etc.), which I
did for one year at New England Conservatory. In 1982 I was accepted into Bart's class
in Brussels, where I studied for three years and then returned to the States to
study at the Early Music Institute at Indiana University School of Music, where
I was both a graduate student and adjunct faculty.</div>
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<b><i>What is a
typical week in your life like? Do you teach, as well as perform?</i><o:p></o:p></b></div>
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These days I
don't have a regular teaching position. I taught at Peabody 17 years, but I spend my time
now doing research and getting ready for concerts, which takes up a huge amount of
time.</div>
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<o:p></o:p></div>
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<br /></div>
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<i><b>What is your
favorite type of repertoire to play?</b></i><o:p></o:p></div>
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Definitely
French Baroque music, next to Bach. I love the French language, art, architecture,
and science from the period before the French Revolution. As repressive as the Ancien
Regime doubtless was, many artists and craftsman of France seemed to find the means to
disseminate their work throughout the western world at the time making it perhaps the
strongest cultural influence on thought and creativity at the time.</div>
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<b><i>What do you
think of early music in the US now? Audience perception? Playing level of </i><i>musicians? How
does this compare to Europe?</i></b></div>
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It is very hit
or miss, as far as the level in the US. I think the sheer volume of musical genres that
are available to presenters these days sometimes does not translate into a consistently
high level of performance for an audience to enjoy. I've seen many concert calendars
where there might be two early music groups represented in a season: one a highly
respected ensemble with numerous recordings and the other a group of enthusiastic
amateur performers. In my experience, I find that in Europe the average level of early music
performance is higher, though I strongly believe that their best is no better than ours. In
order for professional early music performance to thrive in the US, we need presenters and
audiences that can appreciate it and who are willing to make the effort to support
American groups, like Catacoustic!</div>
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<i><b>Where do you
see the future of early music in the US?</b></i><o:p></o:p></div>
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I have been
thinking about this a lot. In attempting to build audiences, there is the very real temptation
for early music groups to go the "greatest hits" route of music
history, which can
stretch the skill and knowledge of any performer to the breaking point. My interest in
going into this field in the first place was to be able to get as much as possible from the
repertoire and instruments that I love most and not "do the best I
can" with as much
repertoire and as many instruments that a music director can throw at me. A
very good thing is
that more and more universities and conservatories offer early music performance as
a course of professional study which can only serve to improve things and help
create ever more discerning audiences.</div>
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<i><b>What should
someone do, if they are interested in beginning or playing Baroque flute </b></i><i><b>more
seriously?</b></i></div>
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My advice is
to listen to lots of recordings and get in touch with a player/singer that you have heard and
really like. Get their advice on a recommended course of study. Early music is a
tiny little world compared to the music industry in general, and most players/singers are
happy to help out those just getting started. Even the most well known among us are not
celebrities in the common sense of the word– it’s not like trying to get an interview with Meryl Streep!</div>
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<o:p></o:p></div>
Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com1tag:blogger.com,1999:blog-8196574262528311887.post-72681950530271529922016-10-29T17:39:00.000-07:002016-10-29T17:39:04.397-07:00A Conversation with Daniel Swenberg, Lute Player<div class="separator" style="clear: both; text-align: center;">
<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2vNqWH316dAd0OF4bcs9eoLFFT5Ql5APBh76tj-z52THr2xdWAq1wSFeLYMPVtRpeCNmgXcsyHJLUMDGB5N7ROcIaFKl986g-m5SasE5zw59Z3tCTKya-UNumWPLQJ-fGDboIyiIoTd5I/s1600/B11C57C7-FBF3-486D-9810-43A1C749D6C3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2vNqWH316dAd0OF4bcs9eoLFFT5Ql5APBh76tj-z52THr2xdWAq1wSFeLYMPVtRpeCNmgXcsyHJLUMDGB5N7ROcIaFKl986g-m5SasE5zw59Z3tCTKya-UNumWPLQJ-fGDboIyiIoTd5I/s320/B11C57C7-FBF3-486D-9810-43A1C749D6C3.JPG" width="320" /></a></div>
<div class="Body">
<i><br /></i></div>
<div class="Body">
<div style="text-align: justify;">
<i>Daniel Swenberg is one of the foremost players of early plucked instruments in this country, and we are so fortunate to have him come to Cincinnati to invest in our music and community. He is playing in Catacoustic's November 13 concert of Italian song. I recently asked him some questions to give us </i><i style="text-align: center;">a sense of his life as a professional lute player.</i></div>
</div>
<div class="Body">
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<i><br /></i></div>
</div>
<div class="Body">
<div style="text-align: justify;">
<i>Tell me about your musical background? What instrument did you
start on? How long have you been playing early plucked instruments?</i><o:p></o:p></div>
</div>
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<div style="text-align: justify;">
<br /></div>
</div>
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<div style="text-align: justify;">
When I was very young, I started Suzuki violin (a very brief
stint). I didn’t take to it. I took lessons, but it wasn’t my thing.
Eventually, I asked my parents to quit-- during a delusional phase of thinking
I'd be a basketball star! As a teenager who wanted to play guitar, I had to
petition my parents to prove my seriousness, taking classical, as well as rock
lessons.<o:p></o:p></div>
</div>
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<br /></div>
</div>
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<div style="text-align: justify;">
I have been playing lute for around 22 years. I played guitar
before that. As a guitarist with a jazz background, I was interested in chamber
music and improvisation. When I went to North Carolina School for the Arts, it
was lute music that enthralled me. Before I graduated, I was playing lute music
and reading lute tablature on a seven stringed guitar.<o:p></o:p></div>
</div>
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<div style="text-align: justify;">
<br /></div>
</div>
<div class="Body">
<div style="text-align: justify;">
<i>What is a typical week in your life like? You travel so much. How
do you manage?</i><o:p></o:p></div>
</div>
<div class="Body">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="Body">
<div style="text-align: justify;">
I spend roughly half of the year on the road: typically 150-180
days of the year. The week varies, depending on if I am on the road and where I
am. If I am out of town for a concert, I do fewer things but am able to be more
engaged in a single project. At home in NYC, I do more musical projects at once
and teach students. And my cats are very demanding of their lost time and
attention!<o:p></o:p></div>
</div>
<div class="Body">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="Body">
<div style="text-align: justify;">
Travel can be tiring at times, but in general, I like it. I get
to meet great people and go to good cities and get to have wonderful
experiences. I end up in interesting places that I want to get to know better.
It is seldom that I am filled with regret.<o:p></o:p></div>
</div>
<div class="Body">
<br /></div>
<div class="Body">
<i>How many types of early plucked strings do you play? How do you
keep them straight?</i><o:p></o:p></div>
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<br /></div>
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<br />
<div class="Body">
<div style="text-align: justify;">
Within the lute world, I play Renaissance and Baroque solo lutes
and continuo instruments (guitar, theorbo, and archlute). I also play 19<sup>th</sup>
century guitar and mandolin. I own approximately 20 instruments in slightly
different variations. I play around 7 different types on a regular basis and
keep them at the ready for a recital at a month’s notice. Consistently, I play
all the types of lutes. This is common of other lute players, but I play a few
more than is typical. (Dave Walker, Lucas Harris, and I keep a similar
routine.) Most early plucked instrumentalists focus on one type of lute,
theorbo, and guitar. My interest in 19<sup>th</sup>-cent guitar, Renaissance,
Baroque, and French instruments may be a bit excessive… I think I can credit
and blame my mentor and friend Pat O’Brien for that – his interest in the
variety of plucked instruments and their colorful history is a fascination that
he encouraged.<o:p></o:p></div>
</div>
<div class="Body">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="Body">
<div style="text-align: justify;">
<i>What is your favorite type instrument to play?</i><o:p></o:p></div>
</div>
<div class="Body">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="Body">
<div style="text-align: justify;">
My favorite instrument is theorbo and the variety you can play as
a continuo instrument. It is a strange instrument, with a wacky tuning, but I think
I understand it pretty well. If I were going to a desert island, I would bring
a 17/18<sup>th</sup>-century (Baroque) lute. I love the repertoire, and the
instrument is ingenious.<o:p></o:p></div>
</div>
<div class="Body">
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<i>
What do you think of early music in the US now? Audience perception? Playing
level of musicians?</i><o:p></o:p></div>
</div>
<div class="Body">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="Body">
<div style="text-align: justify;">
The performance level keeps getting better. I am encouraged,
teaching at Juilliard and University of North Texas, by how many students
continue to be interested in the field and can play at such a high level –
amateurs, as well. With the Internet and groups like the NY Continuo
Collective, it is easier to find teachers and people to play with. It keeps
getting better.<o:p></o:p></div>
</div>
<div class="Body">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="Body">
<div style="text-align: justify;">
Audiences remain what they are.<span style="mso-spacerun: yes;">
</span>There was a time when early music seemed new and exciting and a reaction
against classical music - and had that energy. As we age, that has disappeared
a bit. I hope that more young people get exposed to classical music… This
exposure is so much less than what it was when I was a child. More people need
to come to concerts and appreciate some of the subtleties. Early music is like
a sports game: if you watch it for the first time, you won’t be hooked. You
need to know the how the plays work and appreciate the subtleties to be hooked.<o:p></o:p></div>
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<i>Where do you see the future of early music in the US?</i><o:p></o:p></div>
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I teach in NY at Juilliard where many people come from all over
the world, and many end up staying there after graduation. They start groups
there, and it is great. However, I hope that ultimately people will go back to
more of the mid-sized cities (like Cincinnati) and start wonderful series and
groups there. Early music should not be just a San Francisco, Toronto, Boston,
and NYC world. They need to spread the gospel.<o:p></o:p></div>
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<i>What should someone do, if they are interested in beginning or
playing the lute or theorbo more seriously?</i><o:p></o:p></div>
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That depends on where they live. Find out if there is a good teacher
nearby by going to the Internet and visit the Lute Society of America’s webpage
to find out about possible resources. There are plenty of rental instruments,
and the Lute Society<span style="mso-spacerun: yes;"> </span>holds summer and
winter meetings/workshops where you could get experience. Large cities are
certainly easier. In Cincinnati or northern Kentucky, you could go to the Lute
Society meetings and rent an instrument. With Catacoustic there is always a
bevvy of good lute players coming through. Chris Wilke, Dieter Hennings
(Lexington), Tina Gutierrez, and Larry Brown are all local players who could
help keep their enthusiasm going.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOtOsk0PbJyID7OKHntaSMJOdQU0S5zi0C8y-plVzAzKe-6j7CUokrlkEFBIeAM2RprboNaJXTDPUJQy-EQix7KtlYvcpJ_oBkyZqfEgXoS9JfsP46gkVkjh2h-FTeF4o-lfsNHWo9oHbW/s1600/Swenberg3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOtOsk0PbJyID7OKHntaSMJOdQU0S5zi0C8y-plVzAzKe-6j7CUokrlkEFBIeAM2RprboNaJXTDPUJQy-EQix7KtlYvcpJ_oBkyZqfEgXoS9JfsP46gkVkjh2h-FTeF4o-lfsNHWo9oHbW/s320/Swenberg3.JPG" width="320" /></a></div>
<br />
All photos taken by Tina Gutierrez<br />
http://www.tinagutierrezartsphotography.com<br />
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Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com1tag:blogger.com,1999:blog-8196574262528311887.post-13921007392020316342016-10-24T09:26:00.003-07:002016-10-24T09:28:30.246-07:00Virginia Warnken Will Join Catacoustic for November Concert<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpz1PmcbnbhwLrz6IBwypj_jcvOyWg11CspH52oU3pWxQpImQwXl_rOrraDV0b6y5uJIhCBlng8XDDwWZEmHPAVuDNVN0zNqxR1L0rrZQp-ZgF2goBohuYIHPwVz12Y_3Rd262ffMw-k2C/s1600/151119-virginia-ayala-7507+%25281%2529.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpz1PmcbnbhwLrz6IBwypj_jcvOyWg11CspH52oU3pWxQpImQwXl_rOrraDV0b6y5uJIhCBlng8XDDwWZEmHPAVuDNVN0zNqxR1L0rrZQp-ZgF2goBohuYIHPwVz12Y_3Rd262ffMw-k2C/s320/151119-virginia-ayala-7507+%25281%2529.jpg" width="320" height="213" /></a><br />
Hailed by the New York Times as an “elegant,” “rich-toned alto” with “riveting presence,” GRAMMY© Award-winning mezzo-soprano Virginia Warnken is becoming known throughout the American musical community for her heartfelt interpretations of the works of Bach, Handel, and their contemporaries, as well as for her exciting and unique performances of avant-garde 20th and 21st century works.<br />
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Born in 1984 and raised in southern Louisiana just outside of New Orleans, Virginia grew up immersed in music. The daughter of two musicians, she was exposed to the great artists of jazz, rock/blues, classical, and world music from early childhood. As a child, she took piano lessons, sang in children’s choirs, and studied guitar with her father.<br />
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For high school, she attended New Orleans Center for the Creative Arts (NOCCA), where she studied classical voice, music theory, and ear training in an intensive full-time conservatory setting.<br />
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At the age of 17, she moved to New York City for undergraduate studies in opera performance at Manhattan School of Music. There, she soon found a deep love for works outside of the standard opera repertoire, particularly works composed before the year 1750 and after 1900.<br />
<br />
Soon after completing studies at MSM, she was fully employed in NYC as a singer of early music and contemporary music, performing as a soloist with some of NYC’s most prominent ensembles, particularly, the Grammy-nominated Trinity Wall Street Choir, led by Julian Wachner, Clarion Music Society, led by Steven Fox, Musica Sacra, and the Oratorio Society of New York, both led by Kent Tritle.<br />
<br />
In addition, Virginia appears with numerous other ensembles as a soloist, including Philharmonia Baroque, led by Nic McGegan, Carmel Bach Festival chorale and recitals, American Classical Orchestra, multi Grammy-nominated ensemble Seraphic Fire, TENET, Green Mountain Project, and many others.<br />
<br />
She has appeared on the main stages of Carnegie Hall and Lincoln Center numerous times as the alto soloist in major works such as Handel’s Messiah, Bach’s Mass in B minor, Mozart’s Great Mass in C minor, Handel’s Samson, among others.<br />
<br />
In 2009, Virginia became a founding member of the groundbreaking Grammy© Award-winning alternative-classical vocal band Roomful of Teeth (2014, best chamber ensemble/small ensemble), described as “sensually stunning” by the New York Times, and “Powerful” by Rolling Stone Magazine, integrating western and non-western vocal techniques such as Tuvan throat singing, Inuit throat singing, yodeling, high Bulgarian-style belting, Korean P’ansori, along with several others, and collaborating with composers to forge a new repertoire for the voice using an expanded sound palette.<br />
<br />
In addition to her work with Roomful of Teeth, Ms. Warnken is a fervent advocate of contemporary music, and has performed with and premiered works by numerous prominent composers and non-classical pop/rock acts including Questlove and other members of legendary hip-hop/neo-soul band The Roots, Glenn Kotche of Wilco, Louis Andriessen, Caleb Burhans, Merrill Garbus of tUnE-yArDs, Judd Greenstein, Missy Mazzoli, and Steve Reich.<br />
<br />
In addition to performing, Ms. Warnken also enjoys teaching and has taught privately, guest lectured, and given masterclasses at many higher educational institutions including Yale, Princeton, Williams College, Wellesley, Vassar, and Dickinson College.<br />
<br />
Virginia holds a Masters degree from the Yale School of Music, where she took part in the highly respected Early Music voice program in conjunction with the Yale Institute of Sacred Music. During her time there, she was afforded the opportunity to work with world renowned conductors such as Masaaki Suzuki, Nic McGegan, and Simon Carrington, and went on two international tours as a soloist with Yale Schola Cantorum.<br />
<br />
She currently resides in Branford, CT, in the scenic shoreline district of Short Beach, in a 19th century cottage overlooking the sea. When not working, she can be found there, swimming, cooking, sailing, and seeking adventure in the great outdoors.<br />
<br />
<b>You may learn more about this talented singer and hear excerpts at her <a href="http://www.virginiawarnken.com/hear">website</a> at http://www.virginiawarnken.com/#biography.<br />
Make sure to join us at 3:00PM on November 13 at Trinity Episcopal Church in Covington to hear some passionate Italian music!</b>Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-50638602012500677412016-09-13T17:36:00.001-07:002016-09-13T17:36:13.593-07:00With His Air of Angels: Purcell Fantasies for Viola da Gamba Consort<!--[if gte mso 9]><xml>
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Catacoustic Consort opens its 16<sup>th</sup> season
Saturday, September 17, at 7:30pm at Church of the Advent, 2366 Kemper Ln in East
Walnut Hills (45206).</div>
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<tr><td class="tr-caption" style="text-align: center;">Died? No, he lives while yonder organ’s sound <br />
And sacred echoes to the choir rebound.
</td></tr>
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On the bill is music of Henry Purcell (1659-1695),
universally considered one of the greatest English composers of all time.<br />
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Purcell wrote a huge variety of music, including opera,
sacred, and music for royal occasions. But his intimate chamber music, in particular
the Fantasies for four viols, holds a special place in the hearts of
performers. In the early 20<sup>th</sup> century, when viol consorts were
extremely thin on the ground, many composers re-worked his melodies for modern
ensembles. Percy Grainger went so far as to call it “the most sublimely
beautiful many-voiced democratic music known to me.” </div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKXcH6GjV_rTLo_Gqc7AUzau_ufWQk1wtmWNOiPygSGiBnIM1LTKKMiEG2GjMwX3bMSBdfEf2_Z-iwc3awwmbSL_z4Lxo_gHL2zQhyphenhyphenSaMeg7maxrl832gl8NQSUgFyYNL5FyOoWHisjyU/s1600/grainger.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKXcH6GjV_rTLo_Gqc7AUzau_ufWQk1wtmWNOiPygSGiBnIM1LTKKMiEG2GjMwX3bMSBdfEf2_Z-iwc3awwmbSL_z4Lxo_gHL2zQhyphenhyphenSaMeg7maxrl832gl8NQSUgFyYNL5FyOoWHisjyU/s200/grainger.jpg" width="139" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Percy Grainger was a fan</td></tr>
</tbody></table>
<div class="MsoNormal">
Why democratic? Because unlike the modern string quartet,
which places the spotlight firmly on the first violin with the other
instruments often reduced to supporting roles, the viol fantasies consider each
voice equal. Four intricate, complicated parts, all of a similar complexity and
difficulty, weave around each other to create a tapestry of themes. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Fantasia form was outside the regulation strictures of
the dance forms of the era, and it has a modern, almost improvisatory
feel. By the time Purcell composed these pieces, this form was quickly going
out of style – his employer the King of England was certainly no fan – so one
imagines Purcell composing purely for his own pleasure, and stretching his
wings a bit in consequence.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Catacoustic welcomes Wildcat Viols, a San Francisco-based
ensemble with which Annalisa also plays. After the performance the musicians
will stay in town and begin a recording session. A CD of this music will be
available for purchase in the coming months.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Tickets $25, students $10, under 12 free. <span style="mso-spacerun: yes;"> </span>Tickets available at the door or in advance at
<a href="http://www.catacoustic.com/tickets/">www.catacoustic.com/tickets/</a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At this concert only, Season Ticket packages for the 2016-2017 season will also be
available at the door. Buy five flexible tickets for only $100, a 20% savings.
Season tickets are also available online now.</div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk66ZlfQg3mOmxM2bEcxpcOFoCnlvLQ10SxHDlSPCccBA3oUZv9pC1A2tNuKB2cEJx7vh7VXb58uBkskP79jULEFBiKArwYdaeeEiPoOmlavlosWHSD45oizYsB38Gx0whmscrLfulBrU/s1600/Hopkins.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk66ZlfQg3mOmxM2bEcxpcOFoCnlvLQ10SxHDlSPCccBA3oUZv9pC1A2tNuKB2cEJx7vh7VXb58uBkskP79jULEFBiKArwYdaeeEiPoOmlavlosWHSD45oizYsB38Gx0whmscrLfulBrU/s200/Hopkins.jpg" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">So was G. M. Hopkins</td></tr>
</tbody></table>
<div class="MsoNormal">
"Henry Purcell," by Gerard Manley Hopkins (1844-1889) </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>The
poet wishes well to the divine genius of Purcell and praises him that,
whereas other musicians have given utterance to the moods of man’s mind,
he has, beyond that, uttered in notes the very make and species of man
as created both in him and in all men generally.</i>
</div>
<br />
<table align="CENTER" bgcolor="#ffffff" border="0" cellpadding="0" cellspacing="2" style="width: 601px;"><tbody>
<tr><td align="CENTER"></td></tr>
<tr><td> </td></tr>
</tbody></table>
<table align="CENTER" cellpadding="0" cellspacing="0"><tbody>
<tr><td></td></tr>
<tr><td>H<span>AVE,</span> fair fallen, O fair, fair have fallen, so dear</td><td><a href="https://www.blogger.com/null" name="1"></a></td></tr>
<tr><td>To me, so arch-especial a spirit as heaves in Henry Purcell,</td><td><a href="https://www.blogger.com/null" name="2"></a></td></tr>
<tr><td>An age is now since passed, since parted; with the reversal</td><td><a href="https://www.blogger.com/null" name="3"></a></td></tr>
<tr><td>Of the outward sentence low lays him, listed to a heresy, here.</td><td><a href="https://www.blogger.com/null" name="4"></a></td></tr>
<tr><td> </td></tr>
<tr><td>Not mood in him nor meaning, proud fire or sacred fear,</td><td align="RIGHT" valign="TOP"><span><a href="https://www.blogger.com/null" name="5"><i> 5</i></a></span></td></tr>
<tr><td>Or love or pity or all that sweet notes not his might nursle:</td><td><a href="https://www.blogger.com/null" name="6"></a></td></tr>
<tr><td>It is the forgèd feature finds me; it is the rehearsal</td><td><a href="https://www.blogger.com/null" name="7"></a></td></tr>
<tr><td>Of own, of abrupt self there so thrusts on, so throngs the ear.</td><td><a href="https://www.blogger.com/null" name="8"></a></td></tr>
<tr><td> </td></tr>
<tr><td>Let him Oh! with his air of angels then lift me, lay me! only I’ll</td><td><a href="https://www.blogger.com/null" name="9"></a></td></tr>
<tr><td>Have an eye to the sakes of him, quaint moonmarks, to his pelted plumage under</td><td align="RIGHT" valign="TOP"><span><a href="https://www.blogger.com/null" name="10"><i> 10</i></a></span></td></tr>
<tr><td>Wings: so some great stormfowl, whenever he has walked his while</td><td><a href="https://www.blogger.com/null" name="11"></a></td></tr>
<tr><td> </td></tr>
<tr><td>The thunder-purple seabeach plumèd purple-of-thunder,</td><td><a href="https://www.blogger.com/null" name="12"></a></td></tr>
<tr><td>If a wuthering of his palmy snow-pinions scatter a colossal smile</td><td><a href="https://www.blogger.com/null" name="13"></a></td></tr>
<tr><td>Off him, but meaning motion fans fresh our wits with wonder.</td></tr>
</tbody></table>
<br />
<div class="MsoNormal">
<br /></div>
Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-79182300826380832242016-05-28T17:26:00.002-07:002016-05-29T06:35:02.932-07:00John Powell, music historian and lecturer<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjidymOSmVyxn_5KeYLRjKx8KEXwfKo3ykemP_uLtGV2rLpCeLuhvWY1VfnVim4ZJvNyKtbx-yGVCz4ycvUAD6YTK2muqQBDqg3DXmqVC1FDIQTxuEA7n6oT_lEVyNBVAjgPGFaLtq4cSw/s1600/Powell.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjidymOSmVyxn_5KeYLRjKx8KEXwfKo3ykemP_uLtGV2rLpCeLuhvWY1VfnVim4ZJvNyKtbx-yGVCz4ycvUAD6YTK2muqQBDqg3DXmqVC1FDIQTxuEA7n6oT_lEVyNBVAjgPGFaLtq4cSw/s320/Powell.jpg" width="240" /></a></div>
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">John S. Powell is an expert in
French Baroque opera. He prepared the performance score for <i style="mso-bidi-font-style: normal;">La F<span style="font-family: "times new roman" , "serif";">es</span>te d<span style="font-family: "times new roman" , "serif";">e</span> Ruel</i>. He will be in town
during the week of the performance, and will give a public talk on the opera
and its rediscovery.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Dr. Powell is a widely published
author on the French Baroque, music, dance, and theatre. He has also worked
with a long list of specialists around the world to revive long-forgotten works
for the stage. We asked him a little about himself.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><b><i>What led you to your field of
expertise?</i></b> </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">My PhD dissertation was on music in
the theater of Molière, which I came to after having seen a production of <i>Le
Misantrope</i> in Seattle. I wondered if there might be any music for
these plays, and it turns out that there was. From Molière’s <i style="mso-bidi-font-style: normal;">comédies-ballets</i> I became interested in
French opera.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">How do you think opera in France was
different from other opera at the time?</span></i></b></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Two ways: its heavy emphasis
on dance (the roots of French opera lay in <i style="mso-bidi-font-style: normal;">ballet
de cour</i>) and its allegory. All French opera of the 17th century aimed to
glorify Louis XIV, who was equated with the hero of the opera. In the
case of <i style="mso-bidi-font-style: normal;">La Feste de Ruel</i>, the praise
of Louis XIV is even more fulsomely obvious.</span></div>
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<br /></div>
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<b><i><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">What is your favorite thing about
Baroque opera? Do you like conventional opera, too, or does Baroque opera stand
apart in your mind?</span></i></b></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">French baroque opera is a total <i style="mso-bidi-font-style: normal;">Gesamtkunstwerk</i> (to borrow Wagner’s term
-- I like Wagner too): music, dance, stagecraft, costumes, acting,
gesture, allegory. I like all opera, all periods. I teach a course
on the Mozart/da Ponte operas, and another course on Wagner’s <i style="mso-bidi-font-style: normal;">Ring des Nibelungen</i>. For a few
years I taught a course on Wagner and Tolkien, comparing Wagner’s Ring with
Tolkien’s Lord of the Rings. I have also taught a course on the Faust legend
in music and literature.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></div>
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<i><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Why is Charpentier a favorite? What
is his appeal for you?</span></b></i></div>
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<br /></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I first encountered Charpentier’s
music in 1974 when he was comparatively unknown, especially in the U.S. I
was looking for a topic for my Master’s thesis, and so I settled on his secular
cantatas (which were unpublished, unperformed, and unrecorded). As a grad
student in the mid-1970s I organized two concerts of these works.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i><b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">What are some interesting things you’ve
run across in your research? </span></b></i></div>
<i><b>
</b></i><br />
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</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">One interest of mine is music that
was brought to <i style="mso-bidi-font-style: normal;">Nouvelle-France</i>, which
included French Canada and all of the Louisiana Purchase. This topic arose from
a course I taught at the Université de Nancy, for which I read many of the
accounts of the early French explorers. I have gone to archives in Quebec,
Montreal, and New Orleans to investigate this music, which was mostly brought
by the Jesuits. One thing I found amusing was a set of Lully opera scores in
Montreal that had engravings of lady opera singers with low-cut tops…and some
Jesuit (I presume) filled in their bodices with ink.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Dr. Powell's talk is free and open to the public.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">7pm, Wednesday, June 1, 2016</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Downtown branch of the Cincinnati Public Library</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Huenefeld Tower Room</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">800 Vine St.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Cincinnati, OH 45202 </span></div>
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</div>
Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-20133173018014221182016-05-22T19:00:00.000-07:002016-05-22T19:03:21.609-07:00Old French Pronunciation and French Latin in Catacoustic's Upcoming Performance<i>Aaron Cain is Assistant Professor of Voice and Director of Vocal Studies at the University of Alabama. He has performed and recorded with a variety of instrumental and vocal ensembles, most of which have made early music their focus. Cain holds a Bachelor’s of Music from The University of Iowa and continued his studies at the University of Oregon, where he received a master's degree in choral conducting and a doctoral degree in vocal performance with a specialization in historically-informed performance practice. Aaron’s most recent visit to Cincinnati was for last season's performance of Buxtehude's Membra Jesu Nostri with Catacoustic Consort and to present a lecture at the University of Cincinnati College-Conservatory of Music on the importance of Classical rhetoric to the performance Baroque vocal music.</i><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcYgiPXeIqQSOk6bjI4cruFkepyk8flrE__4OhvqSAdz0H-_14DYOgXfHw9giRmqjkWCj2u6ZqX7rN_S_i1ZmDcb-EYRhG5jgwYM_AAkhnxtr_PYFS_KwReYO4kzpoi5LvYVJN73HF4wmD/s1600/AaronCainHeadshot.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcYgiPXeIqQSOk6bjI4cruFkepyk8flrE__4OhvqSAdz0H-_14DYOgXfHw9giRmqjkWCj2u6ZqX7rN_S_i1ZmDcb-EYRhG5jgwYM_AAkhnxtr_PYFS_KwReYO4kzpoi5LvYVJN73HF4wmD/s320/AaronCainHeadshot.jpg" /></a><br />
<i>I asked Aaron to write about French Latin and old French diction to prepare our audience for the sound world they will enter in a few weeks:</i><br />
<br />
One of the most exciting challenges of preparing historically-informed performances of music written hundred years ago is the attempt to recreate a moment in time as the people living during that time might have experienced it. Can we ever really know exactly how a piece of music sounded in its day? Sadly, no…but musicians can get pretty close if we do our homework and consider all of our options. And everything’s on the table, really: choosing the appropriate instruments and the best venues; how you play or sing certain notes and phrases, how quickly or slowly; how much you allow yourself to improvise, even what frequency you tune to! All of these things (and many more) are considered when trying to recreate the sound world of a given piece of music, because they all affect the outcome. <br />
<br />
So, the rehearsal process ends up being a wonderful mix of everyone’s musical pedigrees, insights, and scholarly sleuthing…with just a pinch of educated guessing for good measure. <br />
<br />
And, believe it or not, it’s all great fun.<br />
<br />
For the Catacoustic Consort's upcoming performance of the music of Marc-Antoine Charpentier, the singers in the ensemble have a few additional questions to consider: what about these words we’re going to sing? How might they have sounded in France of the late 17th Century? And what about Latin? How was that pronounced in that time and place? Should we try to sing these texts using the pronunciation scholars believe were the norm of the day, or should we just keep things simpler and stick with their more common, modern pronunciations? <br />
<br />
Well, let’s face it: singers of early music are all about a good challenge, and, from what we know about 17th-century France, this music is all about the importance of performing in just the right style (le bon goût!), so historically-informed pronunciation it shall be!<br />
<br />
A fascinating feature of the French language is that its phonetic sounds have changed a great deal over the centuries, while the spelling of its words has changed relatively little. This is why modern-day French can have wide differences between spelling and pronunciation. In wonderful words like doux (sweet), for example, only 50% of the letters are pronounced, resulting “du,” rather than, say, “dowks” (which might be how we’d say it if we were trying to account for every single letter). Some more changes from older French pronunciation trends include the loss of nearly all final consonants, and less emphasis placed on stressed syllables in most words (ask any singer, and they’ll probably tell you that French is the most smoothly-contoured language when sung).<br />
<br />
For the Catacoustic Consort’s long-awaited debut of Charpentier’s La Fête du Ruel, the singers will be utilizing a French dialect that will be more familiar than unfamiliar. By the time the end of the 17th Century rolled around, French sounded much like it does today. But be sure to listen closely for a few marked differences! For example, one word that is sung quite a bit in this opera, for obvious reasons, is Roi (King). In late 17th-century French, this oi phoneme was pronounced “way” rather than “wah,” as it is today. Interestingly enough, in the original written score the word for King appears not as Roi, but Roy, so it is one of the examples of French words of which the spelling has changed since the time of Louis XIV. Also, don’t be surprised if you hear a few more consonants than you’d ordinarily expect from French, especially at the ends of words. One consonant that might get your attention again and again is the letter “r,” which was frequently trilled in a downright Italian manner during Charpentier’s day.<br />
<br />
For the other work on the program, Le Reniement de St. Pierre, it is the Latin language that will receive a little extra attention from the singers. The pronunciation of Latin has varied greatly across different regions and different eras, which makes sense, considering that all romance languages began their lives long ago as provincial dialects of Latin. For about a hundred years, Italian-accented (more properly, modern Roman) Latin has been the official pronunciation of the Catholic Church and has become the default pronunciation for most singers and choirs. However, for our performance, the Latin language will have a distinctly French sound. In fact, the guidelines for Baroque French Latin pronunciation operate very much like speaking Latin with a strong French accent. This can sometimes be challenging for singers who have potentially spent decades singing well-known texts like the ordinary of the Catholic mass over and over again in modern Roman pronunciation. It is very much like an actor preparing a role with an unfamiliar dialect and trying to sound as convincing as possible to native speakers.<br />
<br />
So is the extra work worth it? Absolutely! <br />
<br />
Composers of all eras and from all parts of the world have specific sounds in their “mind’s ear” when they create music. This includes the sound of their language every bit as much as it does the sounds of their instruments and the reverberation of their halls. Language, as it was heard in their day and in their countries, is an integral part of the musical conception. So, when the time comes to try and recreate an ephemeral musical moment, especially one that never had its chance to exist in its day, we singers owe it to Monsieur Charpentier to do our best to sing…well…à la mode.<br />
Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-66907880368224925892016-05-22T06:25:00.000-07:002016-05-22T08:21:27.742-07:00Le Reniement de Saint Pierre<!--[if gte mso 9]><xml>
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<i style="mso-bidi-font-style: normal;">La Feste de Ruel</i>
is an opera -- technically a pastoral, since it concerns shepherds in the
fields -- but it is less than an hour long. We will therefore pair it with
another work by Charpentier.</div>
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<br /></div>
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<tr><td class="tr-caption" style="text-align: center;">You've got the wrong guy</td></tr>
</tbody></table>
<i style="mso-bidi-font-style: normal;">Le Reniement de Saint
Pierre (The Denial of St. Peter)</i> is an oratorio (although some call it a
motet.) An oratorio is the telling of a story from scripture using
chorus and soloists. And it’s a big deal, because the French did NOT write oratorios.
Remember how Lully declared himself free of all foreign influence, but Charpentier
proudly displayed the musical education he had received in Italy? A perfect
example of this difference is in the Italian-style oratorios Charpentier wrote. He was a
master of it, and loved the form. He was alone in this work, though, and the French
oratorio died with him.</div>
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<tr><td class="tr-caption" style="text-align: center;">Never even heard of him</td></tr>
</tbody></table>
This episode is beloved of artists of all kinds. It tells of a moment immediately after Jesus' arrest. Peter lurks on the grounds of the government building, hoping for word. Among the bystanders gathering around a fire, he is recognized as being an associate of the of the accused. First a woman, then a man, point their fingers and draw the attention of the crowd, while Peter resolutely denies he has ever even met Jesus. Three times he states what he knows to be more than a lie, but a betrayal. Good-hearted, overzealous but well-intentioned Peter, Jesus' rock -- even he has a moment of monumental weakness. Jesus knew it was coming, perhaps because he knew that all humans have a sliver of imperfection inside, but Peter is horrified to learn this truth about himself.</div>
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<br /></div>
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Many consider this particular oratorio to be Charpentier's greatest.
Using bits from the various gospels, he pieces together a story of astonishing
emotional drama. The accusations around the fire grow in intensity, <br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7BF51TtehYdkohogZVgdrbIiuqbCSmMFFf6s7ahecbdTcrYSwT9c9fEFhglTJLW3LMIzRd7_04qtYAWbO7IfwWdoYoLT4trIFpSooxN6HftRf4UDnRGJhQ__b8NI1qaZnorp_dKw6ruo/s1600/denialone.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7BF51TtehYdkohogZVgdrbIiuqbCSmMFFf6s7ahecbdTcrYSwT9c9fEFhglTJLW3LMIzRd7_04qtYAWbO7IfwWdoYoLT4trIFpSooxN6HftRf4UDnRGJhQ__b8NI1qaZnorp_dKw6ruo/s200/denialone.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I'm telling you I don't know the man!</td></tr>
</tbody></table>
Peter’s
denials become ever more frenzied, at the climax everyone is singing over each
other – and then in the release of tension following the rooster's cry, all that remains is Peter’s bitter weeping. </div>
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<br /></div>
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This piece is well-known, but Catacoustic will be performing a newly
reconstructed score with instrumental music that has never been performed
before. </div>
Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-12055906634373243972016-05-18T13:28:00.001-07:002016-05-26T07:41:11.000-07:00Interview with Aaron Sheehan, GRAMMY-award winner, singing in Catacoustic's world premiere operaGrammy Award-Wining American Tenor Aaron Sheehan has established himself as a first-rate singer in many styles from oratorio and chamber music to the opera stage. He regularly performs in the United States, South America and Europe. He sang the title role in Boston Early Music Festival's recording of Charpentier's <i>La Descente d'Orphée aux Enfers</i> which won Best Opera Recording at the 2015 Grammy Awards.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6nxScRRmCpvrY-SxPuoIjpXc_XR6T0OhPMhN2sSkmaMKxq80sYMzgOImH7EhvOU2uyaJEdb4Yi4UHGuVyN6YzO431FD-WfwAjrHCW1TtsGpdAO4gJcLqnu_paws3CaXw0r_wFO_swl8I/s1600/SheehanImage2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis6nxScRRmCpvrY-SxPuoIjpXc_XR6T0OhPMhN2sSkmaMKxq80sYMzgOImH7EhvOU2uyaJEdb4Yi4UHGuVyN6YzO431FD-WfwAjrHCW1TtsGpdAO4gJcLqnu_paws3CaXw0r_wFO_swl8I/s320/SheehanImage2.jpg" /></a></div><br />
<b>Do you sing music of the Baroque & Renaissance, exclusively? What works best for your voice, and what are you happiest singing?</b><br />
<br />
No, I don't sing Baroque & Renaissance music exclusively. I do think this music works best in my voice, and I am completely at home with Bach, Handel, and most French Baroque music. However, I also like singing composers like Britten, with his obvious inspiration by the baroque. I have recently been exploring more of the French chanson of Fauré, Hahn, and Debussy, which are exquisitely beautiful.<br />
<br />
<b>I know you as many US early music performers used to know each other: through our time at Indiana University's Early Music Institute (EMI). It used to be that having gone to the EMI was enough to create a connection and bond. Most of the pros came from there. Now things are different with music schools and conservatories like Juilliard focusing on early music/historical performance. Can you comment on the new generation of Early Music performers?</b><br />
<br />
I think it is rather exciting that Early Music has proliferated into so many conservatories and schools across the country. I believe that more and more programs are actually being taken seriously, as well! The early music movement has grown up and is fairly mainstream. However, I can still give masterclasses throughout the country where students are dumbfounded by certain sounds used in our repertoire. I get questions like, "how do you make that sound?" or "what is this keyboard instrument with plucked strings?" These are sounds and instruments that have been around since the 17th century and can be found on thousands of recordings over the last fifty years! So, for all of the growing up we have done, I think there is a long way to go. I also hope that the scholarship of early music doesn't become watered down with this proliferation of talent. <br />
<br />
<b>You are a regular performer for the Boston Early Music Festival operas. These have been exceedingly popular. What is the appeal of Baroque opera today to the audience? Is it more relevant than traditional romantic opera of Verdi of Puccini?</b><br />
<br />
I think the appeal of Baroque opera lies in its visual and aural beauty, but also in the fact that the story usually revolves around what it means to be human. Love, Loss, Regret, Fear, Hope, War, and did I say, Love?! These are themes of our lives today. I don't think Baroque music is more relevant than grand opera; it's just different and focuses on different aspects of the art form. <br />
<br />
<b>Tell us about your university teaching.</b><br />
<br />
Teaching has always been a part of my career. I have found it to be helpful to my own singing, as well as an even keel in my life. I currently teach voice in the Historical Performance Department at Boston University, and I am a visiting teacher at Case Western Reserve University in Cleveland. I have held teaching positions at Wellesley College, Brown University, and Towson University, but have had to slim down my teaching due to an uptick in the performance career. I love seeing students grow and develop over time. I think it is important for all of us in the early music world to help teach and spread the knowledge that we have gained from our mentors to new students. <br />
<br />
<b>What is your life like, traveling for work? How much time do you spend at home?</b><br />
<br />
I travel quite a bit for work. It is definitely not a career for someone who hates travel or is a homebody. I would estimate in a given year that I spend 65% of my time on the road or not at home. It means a lot of sleeping in hotels, or patrons' homes- and eating out A LOT!!! It also means you need to have an understanding partner, which, thankfully, I do!<br />
<br />
<b>You recently won a GRAMMY for your performance in another Charpentier opera. What was that experience like? What does it mean to win this particular award, and how has it changed things for you?</b><br />
<br />
Winning the GRAMMY was a wonderful experience and one I wish everyone could have. It is an honor to be recognized by your peers for your hard work and commitment to what we have all chosen to do in life. It's amazing to be completely stunned when they announce your name, to then give an off-the-cuff speech in front of the peers that voted for you. I will never forget the feeling. <br />
I don't know if my life has changed too much. I have a little more performing work, and I acquired a manager. I also have been requested to sing more French Baroque music as of late, which is a good thing!<br />
<br />
<b>Have you been to Cincinnati before? We look forward to having you join us.</b><br />
<br />
I actually have been to Cincinnati before. I used to date a singer that was at CCM while I was a student in IU Bloomington. I spend my last year of graduate school driving to Cincinnati 1-2 times a month before moving to there for the summer after my graduation. I then lived in Cincinnati for three months before finally moving to Boston in the fall of 2001. I haven't been back since, but am really looking forward to returning.<br />
<br />
Click <a href="https://www.youtube.com/watch?v=CgQTQxngSjU">here</a> to listen to Aaron sing an excerpt from the Charpentier opera <i>La Descente d'Orphée aux Enfers</i>.Annalisa Pappanohttp://www.blogger.com/profile/03122178005038511666noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-72028293126661775632016-05-18T12:58:00.003-07:002016-06-02T07:56:02.249-07:001685<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
What sort of a world was it, in 1685? </div>
<div class="MsoNormal">
<br /></div>
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<tr><td class="tr-caption" style="text-align: center;">Queen Christina of Sweden</td></tr>
</tbody></table>
For starters, the absolutely strong monarchy of France was a
bit of an anomaly. Only Sweden and its Queen Christina rivaled Louis' France in size
and power. Neither Italy nor Germany had yet coalesced into nations; both were a
patchwork of principalities. Spain was a complete mess, and even England was
living through the turbulent Stuarts – 1685 saw the end of Charles II and the
beginning of James II, who would make it through only three years before being
booted off the throne much as his father had been. Louis of France was the only
king sleeping soundly through the night in 1685.<br />
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<br /></div>
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The turmoil in England meant less than the usual brilliant
literature, although Dryden and Locke were publishing. Eighty years before, the
novel had been born in Spain with <i style="mso-bidi-font-style: normal;">Don Quixote</i>;
it would be another 30 years before the first important English novel was
written (<i style="mso-bidi-font-style: normal;">Robinson Crusoe, </i>1719). </div>
<div class="MsoNormal">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi04pNyiZ1ea8FJauCTrRb9uIumAOHqVkfTNIOxIzCl8db_XONqjYDjeykccUogvyrjZR2keRwNB4bOgfcRGY6cJwaArq4IiVf27pYhiwxwtUEVv-Mnr43GHvZmH6FMeQQrphS8PIZE_Rs/s1600/moliere-2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi04pNyiZ1ea8FJauCTrRb9uIumAOHqVkfTNIOxIzCl8db_XONqjYDjeykccUogvyrjZR2keRwNB4bOgfcRGY6cJwaArq4IiVf27pYhiwxwtUEVv-Mnr43GHvZmH6FMeQQrphS8PIZE_Rs/s200/moliere-2.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Moli<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">è</span>re</td></tr>
</tbody></table>
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The strong French court gave the arts room to flourish, as
we have discussed. Moli<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">è</span>re worked for years with Lully creating the incidental
music for his plays. When they fell out, he began working with Charpentier.
Moli<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">è</span>re
died in 1673, rather spectacularly. He often starred in his own plays,
including his last, <i style="mso-bidi-font-style: normal;">The Hypochondriac</i>.
When called on to cough in the play, he began coughing in earnest, hemorrhaging
blood from his tubercular lungs. Once he got that under control, he declared
that the show must go on and finished the performance. Afterward, though, his
attack began again and he died that night. Lully himself died in 1687, also
giving his life for his art. While conducting the court orchestra, he slammed
his giant ruby-encrusted baton down on his own toe. Infection became gangrene;
he refused amputation because he so loved to dance, and died. (Charpentier
survived into the 18<sup>th</sup> century, apparently dying quietly in his
bed.)</div>
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<br /></div>
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Louis had a busy year, including the legalization of slavery
in the French colonies and the outlawing of Protestantism in France. It was a
bad century for human rights. He also around this time secretly married for a
second time, to the devout Mme de Maintenon who greatly influenced him for his remaining
decades.</div>
<div class="MsoNormal">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg76Uvs0zpbDGLZLcOn9Wj-spgVIxKUVIm_eJv1UPKGal0_UZQWeMgVMOHk_29h2R9PjnC0vkaJfw3Lqp9g2GF41emnUa-aZlUcgfeLZLqZejHUDINWU0IW0A8STqJVTJ1DZWW5l2VgnqM/s1600/Antonio_stradivari.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg76Uvs0zpbDGLZLcOn9Wj-spgVIxKUVIm_eJv1UPKGal0_UZQWeMgVMOHk_29h2R9PjnC0vkaJfw3Lqp9g2GF41emnUa-aZlUcgfeLZLqZejHUDINWU0IW0A8STqJVTJ1DZWW5l2VgnqM/s200/Antonio_stradivari.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stradivari in his workshop</td></tr>
</tbody></table>
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In music, 1685 was a <i style="mso-bidi-font-style: normal;">very</i>
interesting year. Stradivari was busy in his workshop in Cremona.
Seventeen-year-old Fran<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">ç</span>ois Couperin got his first paying organist job. Pachelbel, Biber,
and Buxtehude were going full bore in Germany, as were Corelli and
A. Scarlatti in Italy and Henry Purcell in England. Telemann, Rameau, and
Vivaldi were all small children at this time, preparing to make their marks in
the new century. And 1685 is famous for its births. Within these 12 months were
born Handel, Domenico Scarlatti, JS Bach, and Lodovico Giustini, whom you
probably haven’t heard of but who would be the first composer ever to write
music for the newly invented piano in 1732.<br />
<br />
<i>Fun fact #1: Most of you reading this can hum the first movement of the
Suite in D by the otherwise obscure composer Jean Joseph Mouret (born in 1682!), because it's the
Masterpiece Theatre theme song and has been since 1971. Likewise, most people in
Europe can hum a rondo from Charpentier's Te Deum, because it's the Eurovision Song Contest theme song and has been since 1954. </i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXsY29i_PK4CCPCxlHr46D_i_URa7UrLBiZiXwF5iYcZPX5w4lguWWIU3lmw-aRFhFrJksuYw1nOLYQTzb-Zr7i92b4YVYcW4h92JhZZx-t-VH9CycSXspUZlH1nKWBDX62Fu3JSAddkU/s1600/mlledeguise.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXsY29i_PK4CCPCxlHr46D_i_URa7UrLBiZiXwF5iYcZPX5w4lguWWIU3lmw-aRFhFrJksuYw1nOLYQTzb-Zr7i92b4YVYcW4h92JhZZx-t-VH9CycSXspUZlH1nKWBDX62Fu3JSAddkU/s200/mlledeguise.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mlle de Guise</td></tr>
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<br />
In the quiet of his rooms on Mlle de Guise’s Paris estate,
Charpentier wrote and wrote and wrote. <i>(Fun fact #2: the Lilly Library in
Bloomington, Indiana has a manuscript in Charpentier’s own hand!)</i> Out of all
the wars and anguish of a difficult century, it’s the arts that have survived
and have the most meaning for us today. </div>
Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-83923906685682407932016-05-13T05:50:00.002-07:002016-05-13T06:01:22.845-07:00The Opera, La Fête du Ruel<!--[if gte mso 9]><xml>
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“La Feste de Ruel” is a far cry from Mozart’s complicated
shenanigans or Verdi’s epic dramas. This was to be a political piece with a
very pointed message: <span style="mso-spacerun: yes;"> </span>I, Armand, have a bodacious
garden, and you, Louis, are the Best. King. Ever. </div>
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<br /></div>
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyMQAgvULygMHDdL6bhA1NJ-eCsnmLTleYOeqr0oULB3-AW3I4z8XHFQAT-tmd7IU3vAzBGsdvZE4i4p4o6ZNvv5naX4hhuGdYHJsPWLECgGsnkwbVK_8_Ebb6P6kPqvZc34xkX_PnstA/s1600/Fragonard_Happy_Lovers.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyMQAgvULygMHDdL6bhA1NJ-eCsnmLTleYOeqr0oULB3-AW3I4z8XHFQAT-tmd7IU3vAzBGsdvZE4i4p4o6ZNvv5naX4hhuGdYHJsPWLECgGsnkwbVK_8_Ebb6P6kPqvZc34xkX_PnstA/s200/Fragonard_Happy_Lovers.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">If you were less annoying, maybe. But I doubt it.</td></tr>
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of the waters, the eternal greenness of these gardens.” Other
characters try to talk her round, but in a startlingly modern move, she
rejects love-making for landscaping. “One will sooner see the sun stop in its
tracks, before I might subject my fate to the capricious whims of an annoying
husband.” Presumably she lives happily ever after.</div>
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<br /></div>
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<tr><td class="tr-caption" style="text-align: center;">Pan</td></tr>
</tbody></table>
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<span style="mso-spacerun: yes;"> </span>Then -- unexpected
plot twist -- the god Pan arrives! Even more unexpectedly, he doesn’t care what
the shepherds get up to. Let them live their own lives! (I’m telling you, this
opera was way ahead of its time.) He has his own message: the garden is green
and the world is safe enough for shepherds, all because of the great Sun King.
He has vanquished the enemies of France and brought peace. He has built giant
canals across the land and brought prosperity. He has created palaces for
himself and brought glory. O happy subjects, to live in such a time, with such
a monarch!</div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcRJ2DzNXCjjhe8CbzFcR2cruOdHPgLr94_dv-XmynbEnyoUYbgnjX7uPBf85jZIyNe9yX7dghw-BjIKxY2ob58DuXE3oPOa8w0nuY1uYYisdv864HXcvW-Z7aquw8T5xosOmFdc8EGdc/s1600/Sunking.gif" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcRJ2DzNXCjjhe8CbzFcR2cruOdHPgLr94_dv-XmynbEnyoUYbgnjX7uPBf85jZIyNe9yX7dghw-BjIKxY2ob58DuXE3oPOa8w0nuY1uYYisdv864HXcvW-Z7aquw8T5xosOmFdc8EGdc/s200/Sunking.gif" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Louis as celestial object</td></tr>
</tbody></table>
<div class="MsoNormal">
Plot-wise, meh. The libretto was probably written by a
friend of Armand’s. The frequent sun references are hardly even allegorical. “But
I see the Sun appearing, all nature adores him, how brilliant he is, how he
inspires love!” It doesn’t take an English major to winkle out the hidden
meaning here. </div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>Charpentier, though,
took the project seriously. (Of course it’s never a bad idea to butter up a king with jobs to
hand out.) He gives Iris and Tircis some lovely music to sing. A
chorus of shepherds echoes Pan’s paeans to Louis. Charpentier takes care that a forgettable
libretto won’t be so quickly forgotten when the most powerful man of his age is listening
to it. Too bad Louis never heard it.</div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiTv4BnD1hzOVpzK3yuUHUoJJNx8yk0sTVB9wYDAy2ovqJTCM6Io2jDd8WZl3YixxXWreumpW7ahCOq4475-9aPg1XqUXvmzSjNZrlKsVr72QxOQdAPFX-3bwAWk2qRQCJd4ou_C77Dc8/s1600/Declarationoflove.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiTv4BnD1hzOVpzK3yuUHUoJJNx8yk0sTVB9wYDAy2ovqJTCM6Io2jDd8WZl3YixxXWreumpW7ahCOq4475-9aPg1XqUXvmzSjNZrlKsVr72QxOQdAPFX-3bwAWk2qRQCJd4ou_C77Dc8/s200/Declarationoflove.jpg" width="200" /></a>This little piece of art is a fascinating snapshot of life
1685, in the world inhabited by Armand, Charpentier, and Louis. </div>
Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-60533898614885176402016-05-09T07:35:00.000-07:002016-05-09T07:36:09.052-07:00Charpentier vs. Lully<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUQAuKLU_G9OHsn55W_HIAMcCtpV-OW8AO2kclE1lO89QEqIuI6paSxEJ_RFrfjsSxXFTFOB2DVItueKhrP2tZViEYWX2slYyjAthzBXz4d5NDp1jsl-NuJFxh5mSM-yfKBNaH9ULVyts/s1600/charpentier.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUQAuKLU_G9OHsn55W_HIAMcCtpV-OW8AO2kclE1lO89QEqIuI6paSxEJ_RFrfjsSxXFTFOB2DVItueKhrP2tZViEYWX2slYyjAthzBXz4d5NDp1jsl-NuJFxh5mSM-yfKBNaH9ULVyts/s1600/charpentier.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Charpentier</td></tr>
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We don’t have a ton of biographical detail about Marc-Antoine
Charpentier, possibly because he led a fairly quiet life. Perhaps he is best
considered in relation to who he was not: Jean-Baptiste Lully.</div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCMrDwUoul2bq6k6OLSmlfgHz1czE5mocLY8Ld7ztaXZ2s5KkGvjBgLYDYJRuC3EdgkDkzP8xqIg4JgF45i1DZdFr-MUuvbKBcEACA-b5iijBPF2m-5uxHsJSnxqgUC2tQKz8a6qNJhKc/s1600/Lully-colour-e1335721092754.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCMrDwUoul2bq6k6OLSmlfgHz1czE5mocLY8Ld7ztaXZ2s5KkGvjBgLYDYJRuC3EdgkDkzP8xqIg4JgF45i1DZdFr-MUuvbKBcEACA-b5iijBPF2m-5uxHsJSnxqgUC2tQKz8a6qNJhKc/s200/Lully-colour-e1335721092754.jpg" width="163" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lully</td></tr>
</tbody></table>
<div class="MsoNormal">
Lully was older by nine years. This allowed him to grab
(okay, he also earned it on merit) the plummest job for composers going:
Superintendent of Music for the Royal Court. Among other things, this meant
Lully had a chokehold on music publication in France. But Charpentier did have
the good fortune to find a permanent place with Mlle de Guise, a cousin of
Louis’ and a leading patron of the arts. As long as he composed buckets of
music for her (which he did) she didn’t mind him taking on outside jobs, too.
And her influence with her cousin made it possible for Charpentier’s music to
get published. </div>
<div class="MsoNormal">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKkFYFmNmftZQQg6yD5N8MUP7WoQzlwxhShyphenhyphenVqPxanlk1bx7kxY6TLyRPEWSTaRMzsNFpq6ce3J2cfplcs6wnEGydU6S-0ABnYBCNpC3dWCYIXXc2LM9HZmpWRVi_NQ8authS8YtJR3Sg/s1600/Lullybust.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKkFYFmNmftZQQg6yD5N8MUP7WoQzlwxhShyphenhyphenVqPxanlk1bx7kxY6TLyRPEWSTaRMzsNFpq6ce3J2cfplcs6wnEGydU6S-0ABnYBCNpC3dWCYIXXc2LM9HZmpWRVi_NQ8authS8YtJR3Sg/s200/Lullybust.jpg" width="141" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lully got this amazing bust</td></tr>
</tbody></table>
Lully wrote sacred music sometimes, but mostly operas,
dances, theatre music, and other popular genres. Charpentier wrote his share of
secular music, but most of his output is sacred.<br />
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<br /></div>
<br />
<div class="MsoNormal">
Lully was actually born an Italian, but he became a French
citizen and claimed that he had no Italian influences in his music, that it was
in the purest French style. Charpentier was a dyed in the wool Frenchman, who
was proud of the Italian influences he picked up studying in Rome with Italian
composers.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lully led an outrageous private life, fathering at least
four children with his wife and enjoying numerous affairs with both men and
women. Charpentier seems never to have married. After his patroness’ death he
got a job with the Jesuits and later at Sainte-Chapelle in Paris. </div>
<div class="MsoNormal">
<br /></div>
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<tr><td class="tr-caption" style="text-align: center;">Charpentier got this wierd engraving</td></tr>
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In his lifetime Lully towered over his contemporaries, even influencing
composers like Purcell, Handel, and Bach decades after his death. Charpentier had
a much lower profile. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But about 100 years after the time we are discussing, the ancien
r<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">é</span>gime
fell to the guillotine. Everything the aristocrats had loved, especially their
music, fell out of favor, and in time was lost to history. Lully, Charpentier,
Marais, Couperin, Rameau – all were now equal in their obscurity. But by the
mid-20<sup>th</sup> century that began to change. First the harpsichordists
rescued the divine music of this time. And in 1953 musicologist Carl de Nys
“discovered” Charpentier. Interest in him has remained strong throughout the intervening
decades as Baroque music has been re-explored. Charpentier is among the most
recorded and most likely to appear on a concert program from his era. Lully has
been much slower to find his audience. Lully’s momentum is gathering, to be
sure, but Charpentier’s appeal to modern audiences would have seemed remarkable
to his contemporaries, when everyone lived in Lully’s shadow.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the mid 1680s, Louis began to turn away from Lully, as the
composer’s debaucheries became too much. Charpentier had been quietly writing and
publishing gorgeous music for years, and his day job gave him free rein to take
on other projects. It was a perfect opportunity for Armand to get ahead of the
curve in what was clearly going to be a post-Lully world. He obviously sent
Charpentier the plans for the refurbished garden, because the score is filled
with marginalia describing where the musicians should be placed (have I
mentioned that a grotto was involved?) and using the very position of the sun
in the sky to provide the special effects. </div>
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<tr><td class="tr-caption" style="text-align: center;">Shepherds in the garden. Seriously, this is what their lives were like</td></tr>
</tbody></table>
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<br /></div>
<div class="MsoNormal">
It would have been so perfect.</div>
Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0tag:blogger.com,1999:blog-8196574262528311887.post-68296130152312083782016-05-02T16:24:00.003-07:002016-05-09T07:35:58.687-07:00Louis XIV and the Arts<!--[if gte mso 9]><xml>
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<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTqu4dsDjYGbIaWYe5rsfhT6EPbStOEWYfZjurN_AvPg57Ral1HvZr6EWRtmYSBj1oYZtTWZJEl-0Oxv2_r4A2aaNeHxQY9fXWEsK8lwilDhsQQcO00o7mQBgSFLpmn62Qr6Y9Y6F3JMY/s1600/Louis_XIV_of_France.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTqu4dsDjYGbIaWYe5rsfhT6EPbStOEWYfZjurN_AvPg57Ral1HvZr6EWRtmYSBj1oYZtTWZJEl-0Oxv2_r4A2aaNeHxQY9fXWEsK8lwilDhsQQcO00o7mQBgSFLpmn62Qr6Y9Y6F3JMY/s320/Louis_XIV_of_France.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Look at those dancer's legs!</td></tr>
</tbody></table>
<br />
<div class="MsoNormal">
Louis XIV of France (1638-1715) was one of the most important kings of
his or any time. He ruled for 72 years, outliving his own son <i style="mso-bidi-font-style: normal;">and</i> grandson, to be succeeded by his
great-grandson. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Much of Louis’ reign was given over to military matters.
Strife both internal and external occupied much of his time. But he had a
strong interest in the arts, and gave them all the attention he could spare. He
founded the Académie Royale de Danse and the Académie d'Opéra, and was himself
a keen dancer. He was a patron of painters, sculptors, and architects. The
theatre flourished during his reign, reaching new heights with Molière, Racine,
and Corneille.</div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1hl8ow-rmvMiDr3V46rI2_s8wNPtaIpcLFNMEwhkC_BsjLkZ9zlCwllUH9b6U1H3-oRbEqH62wy-4m-7R33sKnYPx-Q2adKaUGA7NOK0MxjYaGvTkuZxrVNK62bafH_sr1BeCUIvKwBg/s1600/Lully-colour-e1335721092754.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1hl8ow-rmvMiDr3V46rI2_s8wNPtaIpcLFNMEwhkC_BsjLkZ9zlCwllUH9b6U1H3-oRbEqH62wy-4m-7R33sKnYPx-Q2adKaUGA7NOK0MxjYaGvTkuZxrVNK62bafH_sr1BeCUIvKwBg/s200/Lully-colour-e1335721092754.jpg" width="163" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jean-Baptiste Lully</td></tr>
</tbody></table>
The 17<sup>th</sup> century was also a pinnacle for music in
France. Louis’ court employed Lully, Marais, and Couperin, which has to be one
of the great genius nodes of history. Lully, in particular, was given all
manner of rights and responsibilities over the music of the court. He also
became the composer of incidental music for Molière’s plays, a collaboration
that lasted years.<br />
<br />
In other words, Louis wasn't just the richest man in the world in material terms -- he also swam in a sea of intellect and culture. <br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now imagine you’re a down-on-your-luck aristocrat named
Armand Jean de Vignerot du Plessis, Duke of Richelieu, and you'd like to impress such a king. Money? Bling? Believe me, you’ve got
nothing Louis hasn’t lost behind the sofa cushions at Versailles. Beautiful
women? Outrageous parties? Been there, done that. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But what if you thought of commissioning
something new – new music for a ravenous royal arts appetite? <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9H8m5dmFDCgxMEVxgLjTdY9-wxZVyqgrho7Jh6zjjMnAAZlh9s-MBI7sKiA2q131HNbObfzzgAOaIJAv-y3LHoBoVhKRsEakPRxUEnqrr4RdIyrElsWvr8xZiCFDz7WAOf1XIkZ7gwUY/s1600/charpentier.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9H8m5dmFDCgxMEVxgLjTdY9-wxZVyqgrho7Jh6zjjMnAAZlh9s-MBI7sKiA2q131HNbObfzzgAOaIJAv-y3LHoBoVhKRsEakPRxUEnqrr4RdIyrElsWvr8xZiCFDz7WAOf1XIkZ7gwUY/s1600/charpentier.jpg" /></a><br />
And what if you knew
that Louis was starting to go off his favorite, Lully? What if you had your
eye on that guy who had been writing music for
years for the king’s cousin Mlle de Guise?<br />
<br />
Well, then, you might call
Marc-Antoine Charpentier.</div>
Alice Nutterhttp://www.blogger.com/profile/01690030802929410975noreply@blogger.com0