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. Recipient of the Oxford University Press OBO award in music and shortlisted for the 2016-2018 Princeton University Arts Fellowship, she 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 projects include the first complete recording of Leonora Duarte (1610-1678), a Portuguese converso living in Antwerp, a collaboration with NYTimes photography critic Teju Cole; premières of 18th-century works from Cuba at The Hispanic Society of America in New York; the launch of ModernMedieval, a new duo with Anonymous 4's Jacqueline Horner-Kwiatek; and the commission of a dozen new works for viol consort by Princeton University graduate student composers within the next season. Notable collaborations include Anonymous 4, Bacheler Consort, Lionhart, New Vintage Baroque, The New York Consort of Viols, Parthenia, performance art organization PERFORMA, Trio Coprario, The Sebastians, choreographer Christopher Williams, and director R.B. Schlather. She has appeared as viola da gamba soloist with the Yale Schola Cantorum under Masaaki Suzuki and the American Baroque Orchestra. Elizabeth 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 on 17th-century viol music, patronage, and iconography. Other interdisciplinary endeavors include the design of a baroque plucked strings exhibition at the Yale University Collection of Musical Instruments, articles on musical instruments for The Metropolitan Museum of Art’s Heilbrunn Timeline of Art History, and a new column on historical performance in The Huffington Post. She has taught music at The City College of New York, Stern College/Yeshiva University and Fordham University, and art history at Oxbridge’s L’Académie de Paris and Barnard summer prep. Recent recording credits include Gregory Spears’s Requiem (New Amsterdam Records).
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, working as a conductor, keyboardist, singer, and educator. Mr. Kennerley was a prizewinner at the 2008 Albert Schweitzer International Organ Competition, and a finalist at the inaugural (2013) Longwood Gardens International Organ Competition. In addition to solo concerts in the US and Europe, Mr. Kennerley frequently collaborates with groups such as the Voices of Ascension, New York City Master Chorale, and Greenwich Choral Society. He has studied the organ with David Sanger, Thomas Trotter and McNeil Robinson, and holds the Fellowship of the Royal College of Organists diploma. 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. A renowned specialist in the art of improvisation, Mr. Kennerley is frequently in demand as a performer and educator in this regard. He studied improvisation with Robert Levin, McNeil Robinson, and Noam Sivan at the Juilliard School. A native of the United Kingdom, Mr. Kennerley is Organist and Choirmaster at Saint Ignatius of Antioch Episcopal church, New York City, where he directs the professional choir and coordinates the church’s extensive concert series. From 2008 he held a similar position at "Smoky Mary's", the Church of Saint Mary the Virgin, Times Square. Mr. Kennerley made his New York conducting debut at Lincoln Center in 2009 in two performances of a contemporary operetta, The Velvet Oratorio. Reviews cited Mr. Kennerley's "impeccable musical direction" and "particular sensitivity with regard to the interaction of the drama and the musical score." Equally at home with the direction of early music and contemporary compositions, he recently conducted a concert of world première music from eighteenth-century Cuba at New York's Hispanic Society. A composer of note, he specializes in music for choral ensembles, and for works that incorporate historic instruments. His 2012 piece Lauda novella was featured as part of the Twelfth Night Festival at Trinity Church, Wall Street. He was first prize winner of the Association of Anglican Musicians Composition Competition. 2016 will see several premières of his choral compositions. Please contact Mr. Kennerley directly for perusual scores. A recognized specialist in the realm of early music, he has collaborated with the likes of William Christie, Richard Egarr, Nicholas McGegan, Christopher Hogwood, Monica Huggett, Julian Wachner, and many others. He has given solo harpsichord and organ concerts throughout the United States and Europe to great acclaim. He is currently enrolled in the Historical Performance program at the Juilliard School, where he studies with Kenneth Weiss, Peter Sykes, and Richard Egarr. Plans for 2016-17 include the performance of the complete harpsichord and organ works of J S Bach. Lauded as an “excellent, true-toned tenor” by New Yorker critic Alex Ross, Mr. Kennerley was a prizewinner in the 2015 New York Oratorio Society competition. He has performed as a soloist with many groups, 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 studied with David Lowe, Robert Rice, Braeden Harris, and Maureen O’Flynn. Mr. Kennerley his BAM/Mark Morris Dance Company soloist début in 2010 with Beethoven’s Choral Fantasy and his Alice Tully Hall solo début in Handel's Messiah in 2015. Mr. Kennerley was born in 1984 and became a chorister of Chelmsford Cathedral under Dr. Graham Elliott and Barry Rose. He was educated at Harrow School and Cambridge University, where he was Organ Scholar at Jesus College. He was then appointed Organ Scholar of Saint Paul’s Cathedral, London, where he worked daily with the choir of men and boys under the direction of Malcolm Archer, and had the honour of performing in the presence of HM the Queen on several occasions. Mr. Kennerley was subsequently Associate Director of Music and Director of the Choir of Men and Boys at Christ Church, Greenwich, Connecticut. There, he directed the choirs on two successful tours to England, and established an organ recital series, now in its eighth year. www.jameskennerley.com.
JUDE ZILIAK is a violinist specialized in historical performance practices. He is an American Fellow of the English Concert, and a member of the American Bach Soloists, Clarion Music Society, Sonnambula, and New Vintage Baroque. He has also performed with William Christie and Les Arts Florissants at the Festival dans les Jardins de William Christie, and with Musica Angelica, Trinity Wall Street Baroque Orchestra, Gotham Chamber Opera, New York Baroque Incorporated, and Concert Royal. 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 subsequently studied baroque violin at The Juilliard School, where his teachers were Monica Huggett and Cynthia Roberts. He has served as concertmaster under Richard Egarr (Britten-Pears), Jordi Savall (Juilliard415), and Andrew Litton (National Orchestral Institute), and for R.B. Schlather's pioneering Alcina at WhiteBox Art Center. Raised in Sewanee, Tennessee, Ziliak resides in New York City with his wife, gambist Elizabeth Weinfield, and is on the faculty of the Special Music School and Lucy Moses School.