Ensemble photography by Paula Lobo © 2018 and Teju Cole © 2016
Image © The New Yorker. Illustration by Cristiana Couceiro.
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Alex Ross's beautiful mediation on our Duarte concert with Teju Cole at The Cloisters — from the February 18/25, 2019 issue of The New Yorker: "The absence of historical celebrities hardly hurt attendance... It’s tempting to describe the Sinfonias as jewel-like in construction. You could also compare them to Vermeer’s paintings, small in scale and infinite in depth... For a remarkable hour on a cold February night, their world came alive again." |
Photos of Sonnambula at The Cloisters are by Paula Lobo for The Metropolitan Museum of Art © 2018
Sonnambula performs rare old music written for the viola da gamba (viol) and similar instruments.
Those of us who grew up playing music are likely more familiar with what music historians call "violin family" instruments—violins, violas, and cellos—in a modern setup, with innovations that have evolved over the last two hundred years to fill modern concert halls with sound: steel strings, end pins, chin rests, and modern bows.
Viols possess none of these artifacts of industrialization. Their delicate bodies are made with thin slabs of wood, strung with gut strings and frets, and are played da gamba, or 'on the leg'. In short, these instruments are meant for the court, for the domestic interior, and for the cultivation of a quiet beauty, the sort of which is difficult to come by in today's loud and fast-paced world.
2017–2018 season highlights
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Élisabeth Jacquet de La Guerre (1665–1729): Musician in Paris |
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Wolfgang Amadeus Mozart: Divertimento in D Maj; K 136
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Joseph Haydn: Symphony No. 49 in F Minor; Hob 1:49
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Live at The Metropolitan Museum of Art
Audience looks on at The Hispanic Society of America, New York City
