Awards ma, a Kyoto Prize Medal, and Discoveries Education · Dame. Kerala Snyder, the author...

Early Music America Fall 2005 3

Compiled by Angela Fasick

AwardsThe Rose Ensemble

received the 2005 ChorusAmerica Margaret HillisAchievement Award forChoral Excellence at theorganization’s annual confer-ence, held this year in Chica-go in June. The award is pre-sented once every three yearsto an ensemble that demon-strates artistic excellence, astrong organizational struc-ture, and a commitment tooutreach, education, and cul-turally diverse activities.

The Boston-based vocalensemble Tapestry wasawarded the 2005 ECHOKlassik prize by the DeutschePhono-Akademie, the culturalinstitute of the Germanrecording business, for itsrecording Sapphire Night onthe German MDG label. TheCD features music by Hilde-gard von Bingen and Patriciavan Ness.

The Woodrow WilsonNational Fellowship Founda-tion has awarded a CharlotteW. Newcombe Doctoral Dis-sertation Fellowship to SarahJ. Eyerly, a Ph.D. candidate atthe University of California,Davis, for her “Singing from theHeart”: Memorization andImprovisation in Eighteenth-Cen-tury Utopian Communities of theMoravian Church.

Japan’s Inamori Founda-tion has selected Austrianearly music pioneer NikolausHarnoncourt as one of threelaureates for its 21st annualKyoto Prizes for contributingsignificantly to the better-ment of mankind. In Nov-ember, he will receive a diplo-

ma, a Kyoto Prize Medal, anda cash gift of 50 million yen(approximately $460,000) inKyoto, Japan.

Massachusetts Institute ofTechnology student MaryFarbood won first prize at

this year’sPragueSpring Fes-tival Inter-nationalHarpsi-chordCompeti-tion. Far-

bood, a student of MarkKroll, was chosen by an inter-national panel of judges; her36 competitors came fromevery country in Europe, plusKorea, Japan, China, and theUnited States.

Sir John Eliot Gardiner,founder and conductor ofthe Monteverdi Choir, Eng-lish Baroque Soloists, andL’Orchestre Revolutionnaireet Romantique, picked up anhonorary doctorate from theNew England Conservatorywhen he gave the school’s2005 commencement addressthis spring. Gardiner was alsothis year’s winner of the BachMedal of the city of Leipzig.

GrantsThe Connecticut Commis-

sion on Culture and Tourismawarded Fanfare Consort agrant to present concerts ofBaroque music to school chil-dren. The concerts will takeplace in historic Colonial-erabuildings. The ensemble, ledby artistic director ThomFreas, is also completing arecording of works by

Alessandro Melani for clari-no, high voice (male sopranoand male alto), Baroque vio-lins, and basso continuo.

The McKnight Founda-tion awarded Lyra BaroqueOrchestra (Minneapolis, MN)a $30,000 grant to support its2005-06 and 2006-07 seasons.

DiscoveriesIn June, Michael Maul, a

researcher at Leipzig’s BachArchive, discovered a previ-ously undocumented Bachcomposition in a shoebox ofbirthday cards in the AnnaAmalia Library in Weimar,Germany. Bach was 28 whenhe wrote the score in 1713for the 52nd birthday ofDuke Wilhelm Ernst of Saxe-Weimar. The piece representsa setting of a strophic ariawith ritornello for soprano,strings, and basso continuo.

The opening words of thearia “Alles mit Gott undnichts mit ohn’ ihn” mean“Everything with God andnothing without him,” theDuke’s motto, and are from apoem by theologian JohannAnton Mylius. The aria is thefirst authentic vocal work ofBach’s to be discovered in 70years. A facsimile and per-forming edition of the newlydiscovered piece will be pub-lished in the fall of 2005 byBärenreiter-Verlag of Kassel,Germany. The first recordingwill be prepared by Sir JohnEliot Gardiner.

EducationThis September, Dietrich

Buxtehude will be the focusof the American Guild ofOrganists’ National Confer-ence on Organ Pedagogy atthe University of Notre

Fanfare Consort

Mary Farbood

4 Fall 2005 Early Music America

Peter Sykes, Department Chairmanharpsichord, fortepiano, continuo, performance practice

Martin Pearlman, Artist in Residencebaroque orchestra, chamber ensembles, performance practice

Marilyn McDonald, baroque violinJane Starkman, baroque violinChristopher Krueger, baroque fluteEmlyn Ngai, baroque violinSarah Freiberg, baroque cello

Marc Schachman, baroque oboeLaura Jeppesen, viola da gambaAldo Abreu, recorderFaculty of the Voice and Opera Departments

BOSTON UNIVERSITY

Boston University and Boston BaroqueAn Exciting New Collaboration in Historical Performance Training

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

An equal opportunity, affirmative action institution.

Resident Professional Ensemble Boston Baroque provides training,educational enrichment, and performance opportunities for current studentsand graduates of the program. Students play and learn side-by-side withdistinguished professionals.

M.M., D.M.A. IN HISTORICAL PERFORMANCE

School of Music

Early Music America Fall 2005 5

Dame. Kerala Snyder, theauthor of Dieterich Buxtehude:Organist in Lübeck (SchirmerBooks, 1987) will present akeynote lecture each morningof the four-day conference.

In April, Steven Plankconducted the Oberlin Col-lege Collegium Musicum inmusic by Josquin, Senfl, andLassus at the CathedralBasilica of the Assumption in Covington, KY, and Cal-vary Episcopal Church inPittsburgh.

Anne and Rob Burns, as AReasonable Facsimile, pre-sented programs at over 40Michigan libraries this sum-mer in connection with thenational summer reading pro-gram themes “Dragons,Dreams and Daring Deeds”for young readers and “JoustRead” for teens. Some of thelibraries presenting A Reason-able Facsimile received fund-ing from the MichiganHumanities Council.

The Université Paris-Sorbonne has announced thecreation of a master’s degreeprogram in the performancepractice of Medieval music,

directed by Frédéric Billiet,Katarina Livljanic, andBenjamin Bagby(www.paris4.sorbonne.fr).

The Yale Institute ofSacred Music and YaleSchool of Music appointedlyric tenor James Taylor tothe voice faculty in the pro-gram in early music, song,and chamber ensemble, asassociate professor of voice.Taylor joins Yale from theMusikhochschule in Augs-burg, Germany, where hehas been a tenured professorof voice since 2001.

This fall, Lisa Terry(ARTEK, Parthenia) will jointhe faculty of the French-American Conservatory ofMusic in Manhattan. Terrywill teach viola da gamba,cello, and early music cham-ber ensembles, includingviolin band, viol consort,and continuo playing.

PremieresIn June Chanticleer, the

12-man vocal ensemblebased in San Francisco, per-formed the world premiereof Hildegard: A Measure ofJoy, a music theater piecebased on the life of 12th-century abbess, mystic, andcomposer Hildegard vonBingen. Opera and theaterdirector Francesca Zambelloworked with Chanticleermusic director Joseph Jen-nings and the singers tostage the piece. PlaywrightDonna DiNovelli wrote thebook; Broadway veteranAnita Yavich designed thecostumes. The musicincludes selections by Hilde-gard von Bingen and othercomposers of her time alongwith new commissions bycontemporary composersRégis Campo and 2005

The unique, ear-opening sounds of Early Music – performed by some of the world’s finest ensembles.

The Yukimi Kambe Viol Consort

European Roots & International Flowerings

Verbruggen & Galhano *Art of the French

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Early Music America Fall 2005 7

Pulitzer Prize-winner StevenStucky.

In August, Ignoti DeiOpera, a young opera compa-ny based in Baltimore, Mary-land, presented the NewWorld premiere staging ofMarc-Antoine Charpentier’s1688 masterpiece David etJonathas. IDO gathered a castof all male leads from aroundthe world, along with a peri-od orchestra, to perform thework.

The Magnolia BaroqueFestival in Winston-Salem,NC, featured an aria, oncethought to be lost, fromJohann Friedrich Agricola’soratorio Die Hirten bei derKrippe (The Shepherds at theManger). Glenn Siebert, thefestival’s founder and direc-tor, found a copy in thearchives of the MoravianMusic Foundation.

The Vivaldi opera Motezu-ma received its modern-daypremiere in Rotterdam thisJune. The German musicolo-gist Steffen Voss discoveredthe work, composed in 1733for the Teatro di Sant’Angeloin Venice, in an archive in

Berlin’s Sing-Akademie. TheItalian Baroque ensembleModo Antiquo performedthe work.

“Angels and Archangels,”the 10th-anniversary concertby Musica Spei (Rochester,NY), was devoted to thefamiliar and the unknownmusic of Renaissance com-poser Heinrich Isaac. Theconcert in June included theworld premiere of a rarelyperformed work by Isaac in anew edition by musicologistand Eastman School ofMusic professor PatrickMacey.

In MemoriamOn June 23, 2005, Howard

M. Schott died at the age of82 in Boston, MA. Schottwas raised in New York andattended Yale University andYale Law School. He servedin the U.S. Army MilitaryIntelligence Service duringWWII. After a 20-year careerin international law, hereturned to the study ofkeyboard music and instru-ments at Oxford in 1968 and received his D.Phil. in

Early wind players in New York City’s Right Track studio recording the sound track in June for the new Disney film Casanova, a romantic comedy directed by Lasse Hallstrõm, starring Heath Ledger and scheduled for release in late December.

LesVoix humainesSusie Napper & Margaret Little :: viols

w w w . l e s v o i x h u m a i n e s . o r g

Montreal ’s internationally acclaimed viola da gamba duo

“wild and exhilarating”::

“fluidity and virtuosity”::

“expressive vitality and sophistication”

“Their long experience of playing as a duo means that they think and play as one person, (…) approaching the near-miraculous.”

– BRIAN ROBINS, FANFARE, NOVEMBER/DECEMBER 2001

“These are passionately committed performances, resonant and full of fresh insights... Napper and Littlehave momentarily penetrated the mists of time.”– JULIE ANNE SADIE, GRAMOPHONE AWARDS ISSUE, 2003

BOOKING: Élisabeth Comtois :: Agence Station-BleueT: 514.273.3093 :: email: elisabe@attglobal.net

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8 Fall 2005 Early Music America

1978. He published severalworks on historical keyboardsand was an active participantin the early music communi-ties of England, New York,and Boston. A memorial con-cert will be held in October.

DebutsAkademie für Alte Musik

Berlin, the German Baroqueensemble founded in EastBerlin in 1982, made itsAmerican debut in May 2005with a five-city tour that tookthem to Illinois, Washington,D.C., New York, Massa-

chusetts, and California.The international debut of

reconstruction came thisspring when the California-based quartet presented con-certs in Mexico at the TeatroNazas in Torreon and at theFestival de San Luis Potosi.

Led by Patrick DupréQuigley, Seraphic Fire, thechamber choir once affiliatedwith the Church of theEpiphany in Miami, will goregional this fall, giving per-formances in Coral Gables,Fort Lauderdale, and PalmBeach. The group will also

make its debut with the NewWorld Symphony under thebaton of Robert King.

Good CausesExsultemus, the Boston-

based choral octet, participat-ed in “Walk for Music,” anevent that brought togetherperformers, families, andfriends from across NewEngland to support the activ-ities of local music organiza-tions.

In June, L’Ensemble Por-tique ended its third seasonwith a benefit concert whereall proceeds from ticket andCD sales went to the Episco-pal Relief and Development

fund of St. Augustine’s Epis-copal Church in Wilmette, IL.

Festivals & WorkshopsThe 33rd Aston Magna

Festival opened with a Span-ish zarzuela by SebastiánDurón. Guest directorRichard Savino oversaw theproduction of Salir el amor delmundo, which featured sopra-nos Roberta Anderson,Nancy Armstrong, and Jen-nifer Ellis, mezzo-sopranosLaurie Monahan and DebraRentz-Moore, and baritone,guitarist, and percussionistPaul Shippers. Aston Magnaartistic director Daniel Step-ner led the chamberorchestra.

Accademia d’AmoreBaroque Opera Workshoprelocated to Seattle this yearfrom its previous home inBremen, Germany. Artisticdirector Stephen Stubbs, aSeattle native, moved theworkshop in anticipation ofhis own permanent moveback home next year. Withthe assistance of the EarlyMusic Guild, Stubbs offeredthe workshop and its culmi-nating concert at SeattlePacific University in August.

Highlights of the 12thBloomington Early MusicFestival included ARTEK’s lat-est project “I’ll Never See the

Parthenia’s 2005-06 seasonwill kick off with a celebra-tion of the 400th anniver-sary of Tobias Hume’s pub-lication of the First Part ofAyres. Baritone ThomasMeglioranza will join theensemble in a programcalled “A Soldier’s Resolu-tion: Music from the time ofCpt. Tobias Hume.”

In honor of the 200thanniversary of the death ofLuigi Boccherini, LyraBaroque Orchestra willpresent a November concertwith guest artist RaffaellaMilanesi (soprano) featuring

three arias, two symphonies,and a scene by the Italiancomposer.

Les Voix Humaines willcelebrate its 20th anniver-sary season with a Montrealconcert series called “Angelsand Devils.” Viol virtuosoWieland Kuijken and sopra-no Suzie LeBlanc will jointhe duo, composed of violada gambists Susie Napperand Margaret Little, forselect concerts.

What began with SarahBernhardt’s performance ofRacine’s Phèdre, a benefit forthe Emergency Relief Fund

after San Francisco’s1906 earthquake and

fire, has become,100 years later, theacclaimed present-

ing program CalPerformances. The

Bay Area presenterwill celebrate its cen-

tennial season with ayear of special events,

including specialconcerts in itsMusic Before1850 series.

Scheduled to perform arerecorder player HoracioFranco, Sequentia, YukimiKambe Viol Consort, theBach Collegium Japan, and aconcert by the Tallis Schol-ars celebrating the 500thanniversary of the birth oftheir namesake.

Philharmonia BaroqueOrchestra will begin its sil-ver anniversary season inSeptember by offering anopera on its subscriptionseries for the first time.Nicholas McGegan, himselfcelebrating 20 years as musicdirector of the group, willconduct Handel’s 1736opera Atalanta. This year,Philharmonia Baroque islaunching a new partnershipwith Magnatune to distrib-ute the group’s live concertrecordings by means of theInternet.

Other presenting groupscelebrating anniversaries thisyear include Kansas City’sFriends of Chamber Music(30th anniversary) and theSan Diego Early Music Soci-ety (25th anniversary).

Not Only a Mozart Anniversary

Parthenia

Send Us Your News!Sound Bytes Winter 2005Deadline: September 26

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

Early Music America Fall 2005 9

Stars Again,” the ModusEnsemble for Medieval Musicfrom Oslo, Norway, and anevening with the DodworthSaxhorn Band.

An unpublished flute con-certo in D by Johann JoachimQuantz was recently per-formed at the Capitol HillChamber Music Festival withBaroque flutist Jeffrey Cohanas the soloist. The Library ofCongress holds manuscriptsof four of Quantz’s fluteconcerti, and last year’s festi-val included a performance ofthe E Minor concerto fromthe same collection.

Healing Muses (EileenHadidian, recorder andBaroque flute, and MaureenBrennan, Celtic harp), agroup that brings soothingmusic to Bay Area hospitals,clinics, and convalescenthomes, presented a springworkshop on “Healing withMusic” to a diverse group of35 participants playing a vari-ety of instruments, includingrecorder, flute, viol, cello,Celtic harp, and Finnish folk harp.

Ron and Ruth Moir, theMoir Fortepiano Duo, pre-sented two workshops inJune at the “Art of Teaching”conference held at the RoyalConservatory of Music,Toronto. They addresssedpiano teachers from all partsof Canada, introducing themto both harpsichord andfortepiano performancepractices.

Audiences traveled theworld with the SoHIP concertseries this summer, hearingmusic from the Low Coun-tries, the palazzi of Venice,the salons of Paris, and thetumultuous battlefields of theEnglish Civil War. The con-cert series was presented in

Weston, Ipswich, and Bostonand featured Cut Circle,Duo DoubleAction, Très,Amphion’s Lyre, La DonnaMusicale, and Seven TimesSalt.

The Tudor Choir per-formed with members of theTallis Scholars in the openingconcert of the week-longTallis Scholars SummerSchool, held for the first timein the U.S. at Seattle Universi-ty in July. A second concert atthe end of the week featuredparticipants in Renaissancemotets and chants under thedirection of Peter Phillips.

Early OperaBowling Green Opera

Theater (Ohio) will presentPietro Francesco Cavalli’s GliAmore d’Apollo e di Daphne inNovember. Stage directionwill be provided by RonShields, musical direction byEmily Freeman Brown, andPaul O’Dette will serve asguest artist and performancepractice coach.

City Concert OperaOrchestra of San Franciscopresented Christoph WillibaldGluck’s Il Parnaso confuso inItalian, accompanied by peri-od instruments, this August.Gluck wrote the serenatateatrale for four of EmpressMaria Teresa’s daughters, evi-dently quite accomplishedsingers (the fifth was MarieAntoinette). In this produc-

10 Fall 2005 Early Music America

A NEW VOICE INEARLY MUSIC RECORDINGS

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CARL PHILIPP EMANUEL BACH

TRIO SONATASCARL PHILIPP EMANUEL BACH

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K a r e n F l i n t , D i r e c t o rK a r e n F l i n t , D i r e c t o r

BRANDYWINE BAROQUEKaren Flint, director

Julianne Baird, sopranoLaura Heimes, soprano

Tony Boutté, tenor

OH! THE SWEET DELIGHTS OF LOVEHenry Purcell, Thomas Chilcot

& Johann Christian Bach

Moir Fortepiano Duo

Early Music America Fall 2005 11

tion, Mitzi Weiner (Apollo),Carole Schaffer (Melipo-mene), Rita Lillay (Euterpe),and Elspeth Franks (Erato)filled the daughters’ roles,while Gilbert Martinez pro-vided continuo and TomBusse conducted.

The Early Music Guild ofSeattle produced John Blow’sVenus and Adonis this pastFebruary under the supervi-sion of James Middleton,stage director, and FredHauptman, music director,with choreography by AnnaMansbridge. The perform-ance drew on the talents ofmore than 30 Northwestartists, including 11 singers,nine instrumentalists active in

various Seattle-based Baroqueensembles, professionaldancers from Seattle EarlyDance, and student dancersfrom the Creative DanceCenter. The opera was madepossible by much local sup-port, including grants fromthe Nesholm Family Founda-tion, PONCHO, the SeattleFoundation, and ArtsFund, aswell as many generousindividuals.

Georg Philip Telemann’scomic opera Don Quixote, TheWedding of Comacho closed outMercury Baroque Orchestra’s2004-2005 season – just intime for the 400th anniver-sary of the publication ofCervantes’s novel. Sung in

German with English sur-titles, the opera featured PaulBusselberg as Don Quixoteand bass-baritone Sam Hand-ley as Sancho Panza. KatePogue served as stage direc-tor and Antoine Plante con-ducted the orchestra, choir,and cast.

Brooklyn was the site ofThe New York Continuo Col-lective’s semi-staged work-shop production of Alessan-dro Leardini’s Psiche (librettoby Diamante Gabrielli).Grant Herreid directed theopera, while coaching wasprovided by Paul Shipper(gesture) and Pat O’Brien(musical). Over 34 perform-ers lent their talents to the

May production.Les Voix Baroque, in col-

laboration with Early MusicVancouver, I ConfidentiBerlin, SRC Montréal, andthe Montréal Baroque Festi-val, produced and coordinat-ed a staged version of Anto-nio Caldara’s La Conversione diClodoveo re di Francia. The ora-torio scenico is based on theconversion of Clovis, thefourth-century king ofFrance. Performances tookplace in Montréal, Berlin, andVancouver and featured anall-star Canadian cast (SuzieLeBlanc, Nathalie Paulin,Allyson McHardy, andMatthew White), the instru-mental team from Les Voix

Is it a good idea to perform well?That is, after all, why we rehearse,and it would be a rare occasion onwhich performers made a specialeffort to be uncoordinated, out oftune, or not together in spirit or indetail. And yet, that seems to bewhat was recommended to practi-tioners of early music by BernardHolland in a recent review pub-lished in The New York Times.(Never mind what the performancewas….) At the end of the review,Holland wrote, “These may havebeen just the kinds of scratchysemiprofessional conditions thatBeethoven in the 1820s had todeal with himself. Early-music peri-od practice at its purest? Whoknows?”

The issue is whetherBeethoven—and by extensionother listeners at other times andplaces in the past—ever heard thekind of spiffy, perfectly-detailedperformance we are accustomed tohearing from our top symphonyorchestras, piano virtuosi, and thelike. If, as Holland seems to sug-gest, that level of perfect coordina-tion was seldom or never achievedin those days, and if early musicfolk want to re-create the soundsof the past, it should be part oftheir job to provide a sort of fuzzyand inaccurate performance in thename of authenticity.

There’s a lot to be said here,

and I won’t say it all. I can beginwith my friend who prefers hearingperformances by amateur ratherthan professional string quartets,claiming that you hear the individ-ual instruments much more clearlywhen the ensemble isn’t perfect.This may be part of saying thatperfection of detail in performancemay sometimes lead to a lack ofthings that make music live in thedoing of it.

Another thing to be said isthat early music, whatever it is,

attracted many of us because it ismusic that we can perform. Lots ofMedieval music, lots of Renaissanceensemble music, indeed quite a lotof Baroque chamber music, can beperformed by players of moderateability; there’s not the huge gapbetween virtuoso and amateur thatwidened in the 19th century. Wecan all be glad of that; the playerswho entertain us are people likeourselves—tomorrow, we may

entertain them.I should say, too, that in a

sense I’m on the record as agree-ing with Mr. Holland. In a bookcalled First Nights: Five MusicalPremieres (shameless self-promo-tion: Yale University Press, paper-back version available), I wonderedabout the quality of the first per-formance of Beethoven’s NinthSymphony. “The impracticability,”wrote one reviewer, “of devotingsufficient time to the number ofrehearsals that were necessary inorder to do justice to music whichis at once new, and of so lofty acharacter, made it impossible togive it with that precision, andwith those delicate shades of forteand piano, which are required todo them justice.” I pointed outthat most concerts of orchestralmusic were one-off events, under-rehearsed by our standards, playedby pickup orchestras—and yetthat’s what they did, that’s whatseems to have suited them, andaudiences kept coming. There musthave been some fantastic sight-readers in those days.

Writing about how one lis-tened to music in a time like that,when one heard lots and lots ofnew music, though in a familiarstyle, I said, “Listeners tolerated aforeground of imprecision in orderto see the artistic vision. They were not merely listening to the

performance but listening throughit to the music itself.”

I still believe that. But doesthat mean that in order to be earlymusicky we should build in a fairamount of imprecision? Surely not.We should always try to perform aswell as we can. We will often comeup short, anyway, without half try-ing to do so. But what we canagree on, I’ll bet, is that if we strivefor perfection, we may well achievesomething we don’t want, andthat if we strive to be in themoment, expressive, and beautiful,we can’t go far wrong.

Thomas Forrest Kelly is a professor of music at Harvard University and a board memberand past president of Early Music America.

by Thomas Forrest Kelly

Lofty Imprecision

The issue is whetherBeethoven ever heard

the kind of spiffy,perfectly-detailed

performance we areaccustomed to.

EARLYMUSIC

MUSINGS

12 Fall 2005 Early Music America

Baroque, music directorAlexander Weimann, Canadi-an stage director GuillaumeBernardi, and German setdesigner Cristina Jachinsky.

Publishing NewsOxford University Press’s

Musica Dei donum, a new earlymusic series edited by SallyDunkley and Francis Steele,aims to present hidden gemsof the Renaissance choralrepertoire. Each edition willoffer clear, clean modernnotations, with accompanyingnotes by pre-eminent per-formers and performancescholars in the early musicfield.

The British High Court ofAppeals upheld last year’s rul-ing that copyright royaltiesare due to musicologistLionel Sawkins for the use ofhis editions of the 18th-cen-tury French composerMichel-Richard de Lalande’sworks for a Hyperion labelrecording entitled Music for theSun King. Hyperion faces alegal bill of up to £1 millionas Sawkins was awarded legalcosts for both the initial trialand the appeal as well dam-ages, the amount of whichhas yet to be determined.

Cool ConcertsIn April, La Favoritte

Early Music Ensemble pre-sented “Remembering PeggieSampson (1912-2004): A Lifein Music.” A renowned violada gambist, Sampson per-formed with Quatre en con-cert and was a mentor to theCanadian early music com-munity and a historical per-formance pioneer.

The New York BaroqueDance Company’s perform-ances at the PotsdamSanssouci Music Festival in

June included a private con-cert for President HorstKoehler of Germany and the2005 Nobel Laureates. Artis-tic director Catherine Turocyand her company presentedthree new works as well asHandel’s ballet Terpsichore.

Last spring, Baroque vio-linist Stanley Ritchie, in a cel-ebration of his 70th birthday,presented a program entitled

“Four Seasons and More” asa benefit concert for theBloomington Early MusicFestival.

In May, various sites inChicago heard “The Musi-cians of Venus and Mercury,”a program featuring an excit-ing sextet of shawms, re-corders, lutes, and viols – theloud winds of Mercury andthe soft strings of Venus.Musicians included the New-berry Consort’s Mary Spring-fels and David Douglass, Pif-faro’s Grant Herreid and TomZajac, and guest artists CraigTrompeter and Debra Nagy.

Pacific Camerata (SanDiego, CA), under the direc-tion of Danielle Ratelle, pre-sented “The Cathedral Cityof Puebla,” an evening ofmusic featuring Juan Gutiér-rez de Padilla’s Missa AveRegina for two choirs, as wellas selections by Juan de Arau-jo, Juan del Encina, andHernando Franco.

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0 31st Season 2005-2006October 2 LionheartOctober 16 SequentiaNovember 6 GalateaNovember 20 RebelDecember 4 The Choir of Corpus

Christi ChurchJanuary 29 Hilliard Ensemble February 12 Cello Recital

Jaap ter LindenFebruary 26 Pomerium

According to the NewYork Times, “TheMusic Before 1800 concert series…has longoffered the most varied and consistentlysatisfying programs in New York.”

Sunday afternoon concerts at Corpus Christi Church529 West 121 Street, New York Citywww.mb1800.org Box office/fax 212 666 9266concerts@mb1800.org

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