ELIZABETH WEINFIELD is a viol player, musicologist, and the artistic director of Sonnambula. As an independent performance curator, she uses her deep understanding of the technique and history of old music to deconstruct and reimagine its artistic possibilities in the present. She is currently guest curator for the Hispanic Society of America’s 2017–18 concert season, “Hispanic Women Composers,” where she is designing concerts of work by unknown female composers with ties to the Spanish diaspora, as a means of celebrating the collection while the building undergoes a major renovation. Concerts will be held at the nearby Academy of Arts and Letters in uptown Manhattan. Recipient of the Oxford University Press OBO award in music, Weinfield also designs SpectrumHP, a historical performance solo series at NYC’s contemporary music space, Spectrum, concerts of which often include new commissions for old instruments. Current and recent projects with Sonnambula include the first complete recording of Leonora Duarte (1610–1678), a Portuguese converso living in Antwerp, a collaboration with The New York Times photography critic Teju Cole; a concert collaboration with The Music Society of Japan of contemporary works for ancient Western and Japanese instruments; premières of 18th-century works from Cuba at The Hispanic Society of America in New York; and the commission and recording of new works for viol consort by Princeton University composers. Notable collaborations include Anonymous 4, Bacheler Consort, Brothers Balliett, Davóne Tines, Lionhart, ModernMedieval, New York Consort of Viols, Parthenia, PERFORMA, Trio Coprario, The Sebastians, choreographer Christopher Williams, and director R.B. Schlather. Weinfield has appeared as viola da gamba soloist with the American Baroque Orchestra and the Yale Schola Cantorum under Masaaki Suzuki. She holds a Master’s degree in music from Oxford University where she studied baroque viola with Judy Tarling and members of the Orchestra of the Age of Enlightenment and viols with the British viol consort Phantasm. She is currently a PhD candidate in historical musicology at the Graduate Center of the City University of New York, where she is writing a monograph on Leonora Duarte, the first of its kind. Weinfield is the digital project leader for the redesign of the Musical Instruments galleries at The Metropolitan Museum of Art, which are due to reopen in March 2018. She has curated a baroque plucked strings exhibition for the Yale University Collection of Musical Instruments, written articles on musical instruments for The Metropolitan Museum of Art’s Heilbrunn Timeline of Art History, a publication she also edits at The Met, and writes a column on historical performance for The Huffington Post. A dedicated educator, she has taught music at The City College of New York, Stern College/Yeshiva University and Fordham University, and art history at Oxbridge Academic Programs.
AMY DOMINGUES has a passion for performing music new and old on the cello and viola da gamba. Her journey started with an undergraduate degree in cello performance from James Madison University, leading to a freelance performance career in the DC area. Amy honed her ensemble skills as a session cellist, recording and touring with rock and experimental bands in the United States, Europe, and Japan. After more than a decade of singing and playing cello in her “chamber rock” band, Garland of Hours, Domingues turned to the viola da gamba, an instrument she had long been fascinated by. Following years of study, including master classes with Wieland Kuijken, Paolo Pandolfo, and Philippe Pierlot, she earned a master’s degree in Early Music from Peabody Conservatory in Baltimore. Since then, Amy has enjoyed an ambitious career as an early musician, performing on baroque cello and viola da gamba with groups as varied as The Folger Consort, Hesperus, The Washington Bach Consort, and co-founded Corda Nova, a baroque string trio with Edmond Chan, violin, and Anthony Harvey, theorbo. Amy also currently performs with the early music ensemble Sonnambula and with Dennis Kane in the experimental/neo-classical duo Domingues & Kane. Amy has received the Peabody Career Development Grant and is a multiple recipient of the Artist’s Grant in Aid from the Viola da Gamba Society of America. She is an avid educator and maintains a private studio of both cello and gamba students of all levels and ages. As a recording artist, Amy appears on over 70 albums, spanning genres as varied as indie rock and classical, folk and experimental. She resides in Washington, DC with her husband and cat. Please visit www.amydomingues.com for more information.
photo: Tatiana Daubek
Internationally respected baroque cellist and viola da gamba player SHIRLEY HUNT brings fierce imagination and integrity to the music of the Renaissance, Baroque, and contemporary eras. Praised by The Strad as “stylish and accomplished,” she embraces an eclectic musical life as a soloist and collaborator. Her recent CD release J.S. Bach Suites & Sonatas Volume One is the first installment in an ambitious three-part recording project featuring Bach’s complete cello suites and viola da gamba sonatas. Early Music America called the disc “a fine debut and one with promise for future projects.” Facts & Arts noted her “soulful renditions,” “high-wire interpretations,” and “resonant, singing tone that stays in the mind.” In high demand as viola da gamba soloist and continuo cellist for the Passions, Cantatas, and Concertos of J.S. Bach, Ms. Hunt has performed and recorded with the nation's leading period instrument ensembles including Boston Baroque, Handel and Haydn Society, Philharmonia Baroque Orchestra, American Bach Soloists, Portland Baroque Orchestra, American Baroque Orchestra, Musica Angelica, and Bach Collegium San Diego. In 2011 she toured Europe and South America with John Malkovich and Wiener Akademie, and between 2008 and 2010 performed on the adapted viola and harmonic canon in PARTCH, the Los Angeles Harry Partch band. Ms. Hunt has given solo cello recitals at the Berkeley Early Music Festival, the Boston Public Library, King’s Chapel, the Loring-Greenough House, the Early Music Series at the Bryon Colby Barn, and at Spectrum NYC. She has offered living room concerts through Groupmuse and since 2013 she has performed a yearly recital as an artist-in-residence at The Museum of Jurassic Technology in Los Angeles. She has also appeared at the Phillips Collection in Washington, D.C. and at the Metropolitan Museum of Art where she performed on a viola da gamba from the museum’s collection. In 2014 she debuted at La Jolla Music Society SummerFest where she performed chamber works by Haydn on the baryton, an unusual viol-family instrument from the Esterházy court. In 2015-2016 she debuted with the Bach Society of Charleston and performed as guest principal cellist with Mercury. 2016-2017 highlights include debut performances with Three Notch'd Road, TENET, and The Sebastians, as well as performances at National Sawdust, MetLiveArts, Princeton Sound Kitchen, and the Isabella Stewart Gardner Museum. In addition to her concert appearances, Ms. Hunt can be heard on the Parma, NCA, Centaur, and Origin Classical labels as well as on numerous pop/rock albums and Hollywood film soundtracks. She has served as a Visiting Teaching Artist at CalArts, given masterclasses at the University of Wisconsin and Adelphi University, and appeared as a guest speaker at Harvard University’s Quincy House and at the BEMF Young Artist Training Program. She has been an artist-in-residence at The Banff Centre and was a recipient of the Voices of Music Young Artist Award. Her primary studies were with Hans Jensen at Northwestern University and with Ronald Leonard at the University of Southern California. She also studied period performance with Mary Springfels and Phoebe Carrai. Originally from Portland, Oregon, Ms. Hunt was born into a musical family and is the younger sister of the late mezzo-soprano Lorraine Hunt Lieberson. Ms. Hunt divides her time between Boston and New York City. She performs on a 1775 English cello by William Forster Sr. and on a bass viola da gamba by John Pringle.
Hailed as “a great organist” displaying “phenomenal technique and sheer musicality” (Bloomberg News), James Kennerley is a multi-faceted musician who works as a conductor, keyboardist, singer, and educator. Prizewinner at the 2008 Albert Schweitzer International Organ Competition, and a finalist at the inaugural (2013) Longwood Gardens International Organ Competition, he has given concerts at Carnegie Hall, The Metropolitan Museum, Washington National Cathedral, Saint Patrick’s Cathedral, the Royal Albert Hall, Saint Paul’s Cathedral, Westminster Abbey, London, and many other major organ venues in the USA and Europe. As Organ Scholar of Saint Paul’s Cathedral, London, he had the honor of performing in the presence of Her Majesty the Queen on several occasions. Mr. Kennerley is now Organist and Choirmaster at Saint Ignatius of Antioch Episcopal church in New York City. Lauded as an “excellent, true-toned tenor” by The New Yorker critic Alex Ross, he has performed as a soloist with many ensembles, including New York Polyphony, the Choir of Trinity Church, Wall Street; Saint Thomas, Fifth Avenue; the American Classical Orchestra; TENET; and the Clarion Music Society. He has been a featured soloist with the Mark Morris Dance Company at BAM, and in Handel’s Messiah at Alice Tully Hall. Other notable collaborators include William Christie, Richard Egarr, Nicholas McGegan, Christopher Hogwood, Monica Huggett, Julian Wachner, and many others. As a conductor Mr. Kennerley made his New York conducting debut at Lincoln Center in 2009 and regularly conducts Sonnambula’s larger ensemble projects, including a concert of 18th-century world premières from Cuba at New York's Hispanic Society, and, most recently, a program of contemporary commissions at Princeton University. A composer, as well, he has taken home the first-prize in the Association of Anglican Musicians Composition Competition; his 2012 piece Lauda novella was featured as part of the Twelfth Night Festival at Trinity Church, Wall Street. Mr. Kennerley is frequently in demand as a performer and educator in improvisation, having studied the technique with Robert Levin, McNeil Robinson, and Noam Sivan at The Juilliard School. A native of the United Kingdom, Mr. Kennerley is a graduate of Harrow and Jesus College, Cambridge University, where he was Organ Scholar. He holds a graduate degree in harpsichord from the Historical Performance program at The Juilliard School. For more information, please visit www.jameskennerley.com.
JUDE ZILIAK is a violinist specialized in historical performance practices. He is the 2018 recipient of the American Bach Soloists Jeffrey Thomas Award, designed to “honor, recognize, and encourage exceptionally gifted emerging professionals in the field of early music who show extraordinary promise and accomplishment." He was an inaugural recipient of the English Concert's American Fellowship, which recognizes early-career performers “who appear likely to make significant contributions to the field of early music.” His dedication to the baroque violin family extends from performing on the lira da braccio to premiering new pieces for period instruments. In addition to Sonnambula, Mr. Ziliak is a member of the American Bach Soloists and the Clarion Music Society, and has performed with William Christie and Les Arts Florissants at the Festival dans les Jardins de William Christie, the Four Nations Ensemble, Cantata Profana, Musica Angelica, Trinity Wall Street Baroque Orchestra, Gotham Chamber Opera, Concert Royal, New York Baroque Incorporated, and many other period ensembles throughout the United States and internationally. He has served as concertmaster under Richard Egarr at the Britten-Pears School, Jordi Savall with Juilliard415, Andrew Litton at the National Orchestral Institute, and for R.B. Schlather’s pioneering production of Handel’s Alcina at WhiteBox Art Center in New York. He can be heard on record on the Centaur, Naxos, VIA, and American Bach Soloists labels. Mr. Ziliak is also a dedicated educator and is on the faculty of the Lucy Moses School and Special Music School (P.S. 859), New York’s public school for musically gifted children, where he has established a baroque performance program with the support of an outreach grant from Early Music America. Mr. Ziliak studied the modern violin with Bayla Keyes at Boston University, Dona Lee Croft at the Royal College of Music, and Kenneth Goldsmith at Rice University. He then completed specialized studies in Historical Performance at The Juilliard School, where his teachers were Monica Huggett and Cynthia Roberts. Raised in Sewanee, Tennessee, he resides in New York City with his wife, gambist Elizabeth Weinfield.