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Compiled by Angela Fasick
Honors & Awards
The American Society of
Composers, Authors & Publishers (ASCAP) awarded its
2007 Nicolas Slonimsky
Award for Outstanding Musical Biography in the concert
music field to Claire Fontijn
for Desperate Measures: The Life
and Music of Antonia Padoani
Bembo, published by Oxford
University Press (2006).
In November, the board of
directors of the American
Musicological Society elected
Rebecca Baltzer (professor
emerita of musicology at the
University of Texas at Austin)
to Honorary Membership in
the society. This rank honors
“long-standing members of
the Society who have made
outstanding contributions to
furthering its stated object.”
Baltzer, who specializes in
Medieval music and who is
also a member of EMA’s
board, is only the fifth woman
to receive this mark of
distinction.
The Rose Ensemble (Jordan Sramek, director) took
first prize for sacred music
and second place for secular
music in the 39th Tolosa
International Choral Competition, a major choral festival.
While in Spain, the ensemble
also took part in the XXVII
Jornadas Internacionales
Aragonesas de Canto Coral
festival in Borja.
The 2007 performer of
the year Opus award went to
Les Voix humaines (Susie
Napper and Margaret Little).
The award is given by the
Conseil québécois de la
musique with a scholarship
from the Canada Council for
the Arts. The January tribute
reads: “The musical complicity of these two great dames
has been compared to the
skill of two trapeze artists or
the telepathic communion of
a pair of jazz saxophonists!
The year 2007 sees the completion of a long musical
journey with the last volume
of Sainte-Colombe’s complete Concerts à deux violes
esgales. Four volumes, eight
discs, 67 pieces, some 40 days
of recording, and many
concerts!”
New Initiatives
The nation’s first truly
combined National Performing Arts Convention (NPAC)
will take place June 10-14,
2008, in Denver, CO. NPAC
is expected to bring together
nearly 5,000 actors, administrators, conductors, producers, dancers, trustees, singers,
marketers, critics, composers,
volunteers, musicians, businesses, instrumentalists, educators, directors, fundraisers,
and agents. NPAC is being
made possible by more than a
dozen national performing
arts service organizations
(including Early Music America) coming together to develop, design, fund, and facilitate
the convention in close partnership with colleagues from
the Denver performing arts
community. The historic
impact of such a teaming will
be significant and communicate the importance of the
performing arts to the
nation’s life and identity. By
working together, arts leaders
will more effectively bring the
value of the performing arts
New Esterházy Quartet
to a wider audience.
The New Esterházy Quartet (Kati Kyme, Lisa Weiss,
violin; Anthony Martin, viola;
William Skeen, cello) is performing all 68 Haydn string
quartets in 18 concerts in San
Francisco. This will be the
first time the Haydn quartet
cycle has been performed on
period instruments in America. The concerts will conclude
in 2009, to commemorate the
200th anniversary of the
death of Haydn. The first of
a series of live recordings
from their performances has
been released, containing four
quartets from op.1 and op.2.
Bourbon Baroque of
Louisville, KY, performed its
first concert in October 2007.
Harpsichordist and co-artistic
director John Austin Clark led
NEA Awards
Among recipients in the 2008 National Endowment for the Arts Access
to Artistic Excellence category are the following early music groups and
organizations:
Apollo’s Fire (Cleveland Heights, OH): $7,500 to support “Vivaldi’s
Four Seasons: Context and Creativity.”
Early Music America (Seattle, WA): $15,000 to support services to
the early music field.
Handel and Haydn Society (Boston, MA): $10,000 to support
historically informed performances of Haydn’s Missa in tempore belli
and associated educational activities.
Hesperus (Arlington, VA): $10,000 to support a fourth annual Bring
History Alive presentation: Paul Wegener’s 1920 silent film The Golem:
How He Came Into the World, shown with Sephardic music performed
live by the ensemble.
Mount Saint Mary’s College (on behalf of Da Camera
Society) (Los Angeles, CA): $15,000 to support the presentation of
Chamber Music in Historic Sites by the Da Camera Society.
Philharmonia Baroque Orchestra (San Francisco, CA): $15,000
to support a festival commemorating the 250th anniversary of George
Frideric Handel’s death.
Chanticleer (Consortium) (San Francisco, CA): $25,000 to support a residency project of choral workshops, youth choral festivals, and
a symposium in partnership with North Dakota State University and
other national educational residency collaborators.
Tempesta di Mare (Philadelphia, PA): $7,500 to support performances of orchestral works by 18th-century composer Johann Friedrich
Fasch.
Tempesta di Mare (Consortium) (Philadelphia, PA): $7,500 to
support No Strings Attached: Love and Death with Music and Puppets
in collaboration with the Mock Turtle Marionette Theater.
Early Music America Spring 2008
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the ensemble in a program
that included Bach’s Brandenburg Concerto no.5.
In January, the Chicago
Early Music Consort (Stephanie Sheffield, soprano; Gary
Berkenstock, recorder; Joel
Spears, lute/theorbo; Phillip
W. Serna, viola da gamba)
launched a new website, www.
ChicagoEarlyMusicConsort.org.
In February, the Consort performed “Music for a While,”
English songs from Dowland
to Purcell, on two Chicagoarea music series. The consort
will be joined by Spirit of
Gambo (Phillip W. Serna, Ken
Perlow, Russell Wanger) for
the final concert of its 200708 season in May.
The Echo Early Music Festival of Asheville, NC, took
its inaugural turn in January
with concerts including Benjamin Bagby’s Beowulf, Harmonia Baroque (of Boone,
NC), historical keyboardist
Henry Lebedinsky and the
Biltmore Brass, The Echo
Camerata Opera with tenor
Aaron Schnurbusch (per-
forming Monteverdi’s Orfeo),
harpist Lelia and Soundings
Choral Group, and Ensemble
Vermillian.
In November, New Trinity
Baroque (Atlanta, GA) was
involved in the first performance in 450 years of a set of
madrigals composed by
Francesco Portinaro. Maria
Archetto, associate professor
of music and director of the
Oxford College Chorale and
Oxford College Instrumental
Ensemble at Emory University, discovered the works and
contacted NTB director Predrag Gosta after receiving a
grant to turn her research into
a performance.
Tempesta di Mare, the
Philadelphia Baroque orchestra, performed the modern
world premiere of three quartets by late Baroque composer
Johann Gottlieb Janitsch. The
works were originally in the
collection of Sara Levy,
daughter of Frederick the
Great’s treasurer. From Levy,
they traveled to the Berlin
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Spring 2008 Early Music America
Grammy Nominations
The Boston Early Music Festival’s
recording of Lully’s Thésée was nominated for a 2008 Grammy Award for
best opera recording. Paul O’Dette
and Stephen Stubbs led the performance, which featured Howard Crook,
Ellen Hargis, Laura Pudwell, and Harry van der Kamp.
Look for BEMF’s recording of Lully’s Psyché in May.
Stile Antico’s Music for Compline was also nominated – in
the category of small ensemble performance – and that
recording’s producer, Harmonia Mundi’s Robina G. Young,
was herself nominated for best classical producer of the
year. Young’s production credits in 2008 include As Steals
The Morn...Handel Arias & Scenes For Tenor (Mark Padmore,
Andrew Manze, and The English Concert), Andrew Manze
and the English Concert’s recording of C.P.E. Bach’s
symphonies 1-4 and cello concerto, Olga Kern’s Brahms:
Variations, and Stockhausen: Stimmung (Paul Hillier and
Theatre Of Voices).
ried off to Russia during
World War II before recently
being repatriated to Berlin.
Tempesta di Mare’s concert,
“Rescued by the Red Army,”
included these three
premieres as well as two of
Janitsch’s other quartets.
Opera & Oratorio
In May, the American
Opera Theater will present
the New World premiere of
Marc-Antoine Charpentier’s
rarely performed opera David
et Jonathas in performances in
Washington, DC, and Brooklyn, NY. The production has
been made possible through a
generous grant from the
Geoffrey C. Hughes Foundation and will be co-produced
by the Institute for Living
Judaism of Brooklyn. AOT’s
artistic director Timothy Nelson will lead a cast of young
singers, including countertenor Brian Cummings,
soprano Rebecca Duren, baritone Jason Buckwalter, tenor
Craig Lemming, and baritone
Ferris Allen. AOT’s resident
period instrument ensemble,
Ignoti Dei, will be joined by
the Virginia Tech Chamber
Singers.
Opera Early & Ancient San
Francisco, a production of
San Francisco Renaissance
Voices, performed William
Boyce’s Solomon in September
and October. Soprano Susan
Gundunas and tenor Corey
Head were accompanied by a
chorus and by the Galileo
Project and other musicians.
J. Jeff Badger produced the
performance, while Todd
Jolly served as its musical
director.
In January, Dallas-based
joined forces with Ft. Worth’s
Texas Camerata and visiting
Mexican sopranos Carla
López-Speziale and Eugenia
Ramírez to present Sebastián
Orchestra of New Spain
Durón’s Las nuevas armas de
Amor (New Weapons of
Love). A zarzuela operetta of
the early Spanish court, the
work was performed in a new
edition by Grover Wilkins in
collaboration with Gordon
Hart (University of Newcastle, England; Universidad de
Oriente, Venezuela).
After 17 years, a December performance of J.S.
Bach’s Christmas Oratorio
marked the swan song for
Bach and the Baroque, a performing series/ensemble at
the University of Pittsburgh.
The Renaissance & Baroque
society presented the work in
two concerts, with three cantatas showcased each evening.
Don Franklin, a Bach specialist and University of Pittsburgh professor who will
retire next year, led the
performances.
The Washington Bach
Consort celebrated its 30th
anniversary with a performance of this same work in its
entirety at the Music Center
at Strathmore in DC. The
concert was preceded by a
special reception in the
Mansion at Strathmore.
Stephen Stubbs (artistic
Choices
I
s early music ruining music for
everybody? It may be that
nobody will ever be satisfied
again, now that early music has
given the world choices.
In the January 12 New York
Times, the estimable Bernard
Holland reported on a concert
in the new hall of the Morgan
Library in New York in which a
single piece, Schubert’s great Bflat sonata, was played twice:
once by my friend and colleague
Robert Levin on a reproduction
Conrad Graf fortepiano, and
once by the admirable Claude
Frank on a reproduction
Steinway. Well, I guess it wasn’t
a reproduction Steinway, but
somehow it tilts the playing field
to call one of the instruments a
“reproduction….”
And in each case there was
something Mr. Holland didn’t
like: despite his praise for the
Graf’s “gracious tone and transparent articulation,” he thinks
Schubert would have liked “the
Steinway’s ability to sustain the
long held notes of his slow
movement, tones that fade all
too quickly on the Graff [sic]
next to the music’s cross-handed filigree. I also think Schubert
might have liked having all that
sonic power to hold up the big
dramatic attacks at the end of
the finale. As it was, one feared
for the instrument at hand.”
But then came the Steinway,
and Mr. Holland thought this
one sounded too thick, that it
was too big for the hall, even
that Mr. Frank may have been
heavy-handed.
I wonder whether he would
have thought either thing in the
absence of the other. You can’t
please everybody, but it appears
that nobody can please Mr.
Holland—or at least no piano,
or at least no two pianos at
once. Holland did admit that
Robert Levin, and here I think he
means in his playing, “had arguments that will remain strong so
long as early-music people avoid
It appears that
nobody can please Mr.
Holland—or at least
no piano, or at least
no two pianos
at once.
the moral tone that equates
original with virtuous.” Heavens,
are we still being accused of
being earlier-than-thou? I know
he didn’t exactly say that, but
the rhetorical device of saying
“so long as we avoid” really
means the opposite: that we
don’t usually avoid it.
But we do avoid it, don’t
we? It’s not actually the piano,
is it, that gives us the music: it’s
Schubert, and it’s Robert Levin
and Claude Frank. It’s a poor
performer who blames his tools,
EARLY MUSIC
MUSINGS
by
Thomas Forrest Kelly
and neither of these performers
is that; it’s a poor listener who
blames a good performer, and
it’s a poor critic who blames
people who aren’t even there.
There have been various
“battle of the bands” events in
the past, pitting early instrument performers “against”
modern instrument performers,
usually with a view to deciding
which is better, rather than with
the intention of enjoying the
differences.
Have we so muddied the
waters, so muddled people’s
thinking and listening, that we
think of the Steinway when we
hear the Graf, and think of the
Graf when we hear the
Steinway? My own hope is that
we take each moment on its
own and never equate original
with virtuous—for myself, I
think it would be nice to seek
the beautiful in all things.

Thomas Forrest Kelly is a professor
of music at Harvard University
and a board member and past
president of Early Music America.
Early Music America Spring 2008
7
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Spring 2008 Early Music America
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director) and Maxine Eilander English composers
(managing director) led the
of the 17th century
Seattle Academy of Baroque including Byrd, GibOpera in a November perbons, Locke, and
formance of Emilio de’ Cava- Purcell. The January
lieri’s Rappresentatione di Anima, concerts were held in
et di Corpo (The Portrayal of
Deerfield and
the Soul and the Body). Anna Holyoke, MA.
Mansbridge provided stage
The Da Camera
direction and choreography
Society of Mount St.
for the production, which was Mary College (Los
held in co-operation with
Angeles, CA) will feaSeattle Early Dance, Kaleido- ture lutenist Hopkinscope Dance Company, and
son Smith in its
the Creative Dance Center.
Chamber Music in
Bowling Green State UniHistoric Sites series.
versity and the Eastman
Smith will perform
School of Music’s Collegium
16th-century French
Musicum presented what may and Italian music in
well have been the first full
March at Sierra Madre’s Pratt
staging in North America of
House, a classic MediterFrancesco Cavalli’s La virtù de’ ranean mansion set in three
strali d’Amore. Paul O'Dette,
acres of striking gardens. In
professor of lute at the East- February, the same series
man School of Music, was the offered a concert of music of
musical director, and Ronald
the California missions. El
E. Shields, chair of the BGSU Mundo (Richard Savino,
department of theater and
director) performed the profilm, was the stage director.
gram at the Mission San FerThe collaboration between
nando Rey de España in MisBGSU and Eastman took
sion Hills, CA.
place in November on both
The Duke Collegium
campuses.
Musicum was heard in concert in Durham, NC, in a
Concerts of Note
December program featuring
A M U S E : A Women’s Vocal
the Requiem of Francesco
Ensemble (Renée Anne
Cavalli, a double-choir work
Louprette, conductor) perwritten for the choir of San
formed “Fabulously French,” Marco to sing annually in
a concert of ancient chant
commemoration of the comand music by Dufay, Coupposer’s death. Directed by
erin, Lully, Fauré, André
Tom Moore in his first perCaplet, Duruflé, and Poulenc. formance leading the group,
The February concert was
the a cappella work was comhosted by St. Ignatius of
plemented by the appropriate
Antioch Church in
liturgical items sung in chant.
Early Music Colorado’s
Manhattan.
Arcadia Players presented 15th Annual Fall Festival of
“The English Orpheus,” a
Early Music brought the
concert of Baroque chamber sounds of the past to the
music with contemporary
Boulder Public Library. More
readings. The program feathan 20 different musical
tured music for viols and vio- ensembles took to the stage.
lins with chamber organ by
The weekend’s highlight was
Cavalli’s La virtù de’ strali d’Amore In a joint
production by Bowling Green State
University and the Eastman School of Music.
the harpsichord recital of
Shin-Ae Chun from the
University of Michigan.
Early Music Now (Milwaukee, WI) offered some interesting programming to close
out 2007 and begin 2008. The
presenting organization’s
Christmas concert featured
the San Antonio Vocal Arts
Ensemble in “La Nocha
Buena,” a program of music
from Colonial Latin America
that recalled the earliest celebrations of Christmas in the
New World with folk music
of indigenous Americans and
African slaves. In February,
EMN hosted French-born
soprano Anne Azéma and
multi-instrumentalist Shira
Kammen in “Chanterai por
mon courage,” which
explored spiritual renewal at
the time of the Crusades (followed by a Medieval banquet,
“Feast of Fools”).
In January, the Four
Nations Ensemble, with guest
artist Jessica Gould, soprano,
presented “Instrumental
Offerings: Music as Diplomacy in 18th Century Europe”
at Mannes College Concert
Hall in New York City. The
concert was offered in conjunction with an exhibition at
the Bard Graduate Center,
“Fragile Diplomacy: Meissen
Porcelain for European
Courts.”
Audiences at New York’s
Music Before 1800 series
watched as well as heard two
performances in early 2008.
Aided by supertitles, Sequentia (Benjamin Bagby, director,
voice, harp; Norbert
Rodenkirchen, flutes, harp)
performed “Fragments for
the End of Time,” 8ththrough 11th-century music
about the Apocalypse. This
January concert was followed
by The Clerks’ Group’s
February performance of the
multimedia version of the
Medieval satire Roman de Fauvel. Accompanied by projections of the illuminated manuscript, director Edward
Wickham and the five singers
performed the original songs
interspersed with poet Ian
Duhig’s new text, read by
actress Catharine Slusar.
Also in New York, the
Morris-Jumel Mansion
offered November’s “Duo
Appassionata,” four-hand
Early Music America Spring 2008
9
SOUNDbytes
works by Mozart, J.C. Bach,
Boccherini, and others performed by fortepianists
Dongsok Shin and Gwendolyn Toth.
Music Sources (Berkeley,
CA) presented Benjamin
Alard, recent first prize winner at the Brugges International Harpsichord Competition in a February concert.
“Shalom/Pax: Jewish and
Christian Common Ground,”
was a collaboration between
Seraphic Fire, the Miami professional choir, and Iraqi-Jewish cantor George Mordecai
of Temple Emanu-El Miami
Beach. The January program
featured Gregorian chant,
Latin motets, and Medieval
organum from the Roman
repertory combined with cantorial chants and songs of the
Iraqi, Sephardic (Spanish/Middle Eastern), and
Ashkenazic (German/Eastern Europe) Jewish traditions.
In October Yale University’s Institute of Sacred
Music celebrated the installa-
tion of its new Taylor and
Boody meantone pipe organ
with a concert of music from
17th-century Germany and
the world premiere of
Matthew Suttor’s Syntagma.
The concert, organized by
Judith Malafronte, included
organists Harald Vogel and
Martin Jean, the Yale Schola
Cantorum, the Yale Collegium Musicum, violinist
Robert Mealy, and Piffaro, the
Renaissance Band.
On Tour
In May, Asteria will repeat
its European residency at the
Chateau de Germolles in
Burgundy, France, the only
remaining ducal palace from
the time of the Dukes of
Burgundy.
Last October the Baroque
ensemble REB E L collaborated
with natural trumpeter David
Kjar and guest violinists from
Rome and Munich, Christoph
Timpe and Mary Utiger, in a
12- concert tour (New York,
Rhode Island, Missouri, Illinois, Maryland, and Washington, DC) in the northeast and
Midwest that included an
NPR studio performance.
The Medieval trio Trefoil
(Drew Minter, Mark Rimple,
Marcia Young) took its Spanish program on the road last
fall for performances at Vassar College, Franklin and
Marshall College in Lancaster
(PA), and the new Times
Tafelmusik Baroque Orchestra, led by Jeanne Lamon,
playing in the Shanghai Science and Technology Museum
during their 12-day Asian tour in October.
10
Spring 2008 Early Music America
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Harvard-Radcliffe Collegium Musicum
presents a new CD
Mass in B minor
Friday, March 14, 2008
Sanders Theatre, Harvard University
performed by the
Harvard-R adcliffe Collegium Musicum
with soloists
Jennifer Ellis, soprano • Paula Murrihy, mezzo-soprano
Margaret Bragle, contralto • Scott Whitaker, tenor
Sumner Thompson, baritone
with the orchestra of
Handel & Haydn Society
Daniel Stepner, concert master
Jameson Marvin, conductor
Dufay, Ave Regina coelorum
Ockeghem, Alma redemptoris Mater
Palestrina, O beata et gloriosa Trinitas & Rorate coeli
Byrd, Gaudeamus omnes in Domino, Part I
Schütz, Selig sind die Toten
Brahms, Warum ist das Licht gegeben & Lass dich nur nichts nicht dauren
Rheinberger, Abendlied
Rachmaninoff, Bogoróditse Dévo Ráduysya
Poulenc, Tenebrae factae sunt
Howells, Gloria from Mass in the Dorian Mode
Tavener, The Lamb
Sametz, Munus
O’Regan, Tu claustra stirpe regia
Marvin, Each Future Song
Available online at www.hrcm.net
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Spring 2008 Early Music America
WWWYALEEDUISM
SOUNDbytes
Center in midtown Manhattan. In the spring, Trefoil performed at Trinity Wall Street
and the Church of St. Luke in
the Fields, unveiling its new
Trecento program “That’s
Amore! – Love in the 14th
Century.”
Education
The Arcadia Players’ Con-
introduced 200 fifth grade
students in Springfield, MA,
to Handel’s Messiah. The fall
2007 program offered a
teacher development workshop, a seven-lesson curriculum relating to the Baroque
era, a rehearsal specially
designed for children, and an
opportunity for children and
their parents to hear the work
in concert.
In its role as orchestra-inresidence, Tafelmusik will
participate in the University
of Toronto’s new Master of
Music in Performance
(Instrumental) program. The
two-year program offers a
selection of courses in
Baroque performance on
period instruments.
Viols in Our Schools, a
pilot program supported by
the Viola da Gamba Society
of America, brings music for
cert Education Program
Send Us Your News!
Sound Bytes Summer 2008
Deadline: March 31
Sound Bytes tries to cover early
music news and newsmakers as
completely as possible, but we
cannot publish every news item.
All materials must include a
name, date, and contact number.
Send news to Sound Bytes,
EMAg, 2366 Eastlake Ave. East,
#429, Seattle, WA 98102;
e-mail: [email protected]
(include “Sound Bytes” in subject
line). Digital photos may be sent
by e-mail as 300 dpi TIFF or
JPEG images in color or b&w.
viols to adults and youth in
Illinois through classroom
events and collaborative programming. In March, Dr.
Phillip W. Serna (director,
bass viol) and Jason Moy
(harpsichord) will perform
works by G.P. Telemann and
J.S. Bach with the Neuqua
Valley High School Chamber
Strings; in May, Serna will play
Telemann with the Wheeling
High School Chamber
Orchestra.
In Memoriam
H. Wiley Hitchcock, eminent musicologist, author,
teacher, editor, and scholar of
American as well as Baroque
music, died in December at
84. He taught at Michigan,
Hunter College in New York,
and Brooklyn College, where
he became founding director
of the Institute for Studies in
American Music. The ISAM
is to be renamed the Hitchcock Institute for Studies in
American Music.
Joseph Payne, the Bostonbased harpsichordist and
organist, a student of Wanda
Landowska, died at his home
in Maine in January. Payne
was the first organist to
record the 33 Neumeister
Chorale Preludes attributed to
J.S. Bach and re-discovered at
Yale in 1984. He also produced The Bach Connection and
other syndicated radio series.
Craig Smith, the conductor who founded Boston’s
Emmanuel Music while still a
graduate student at the New
England Conservatory, died
in November at the age of
60. At Emmanuel Church,
Smith produced America’s
first complete cycle of the
Bach cantatas within the Sunday liturgy for which they
were originally conceived.

The Renaissance Band
colorful and secure instrumental
style and a technical perfection
delivered with verve
-MITTELBAYRISCHE ZEITUNG
FOR BOOKINGS
215/235.8469
[email protected]
www.piffaro.com
FACSIMILE EDITIONS
Manuscripts and original editions
Violin, viola, cello, viola de gamba, lute,
Keyboard, voice, flute... .
www.editions-classique.com
46, Rue du Bocage - B.P. 406 - COURLAY - 79306 BRESSUIRE CEDEX - France
Tél. + 33 (0)5 49 72 91 20 - Fax + 33 (0)5 49 72 02 03
E-mail:[email protected]
Early Music America Spring 2008
13