SpectrumHP is an offshoot project designed by Sonnambula - a historical performance series that presents solo recitals with a scholarly twist - usually with an academic respondent or through informal commentary by the artist - in an intimate environment: the Lower East Side's SPECTRUM (121 Ludlow Street, NYC).
2019 Season Coming Soon!
2017 Season
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Catalina Vicens ORGANETTO • MEDIEVAL KEYBOARD RECITAL FRIDAY • MAY 5, 2017 • 7 PM Tickets at the door $20 General / $10 Students |
Award-winning musician, CATALINA VICENS, a native of Chile and now resident in Basel, Switzerland, started her international career at an early age. By age 20 she had already played in the main concert halls of more than ten countries in North and South America, including the Teatro Colón de Buenos Aires Argentina, the Kimmel Center in Philadelphia, and the Teatro Municipal do São Paulo. Catalina studied harpsichord with Lionel Party (Curtis Institute of Music, Philadelphia), Robert Hill (Musikhochschule Freiburg) and Andrea Marcon and Jesper Christensen (Schola Cantorum Basiliensis). She later specialized in medieval music with Corina Marti, obtaining a Master's degree in Medieval Keyboard Instruments (an international first), and in Contemporary Music Performance (with historical keyboards) at the Musik Akademie Basel. During her graduate studies, she undertook individual research on the harpsichord and organ literature from Renaissance Italy, England and Switzerland, which led her to commence recently a PhD degree at the Orpheus Institute, Ghent, Belgium and the Leiden University, The Netherlands. She has also been invited to give several courses and master-classes and to be part of the jury at international competitions. Her fascination for sound and rhythm also led Catalina to study Iranian percussion with Madjid Khaladj and historical timpani and percussion with Pedro Estevan, Michael Metzler, Philip Tarr and Glen Velez among others. Her desire to explore the sound possibilities of the instruments she plays has brought her to close collaboration with composers. Catalina has performed as a soloist and with renowned ensembles in Central Europe, Scandinavia, Great Britain, and both North and South America. Among the respected and well-known musicians under whose direction she has performed are Gottfried von der Goltz, Andrea Marcon, Joseph Silverstein, Otto-Werner Müller and J. Manuel Quintana. Currently, she frequently performs as a soloist as well as in many ensembles in Europe, South America and the USA, specialising in Medieval, Renaissance, Baroque and new music. She is the founder and artistic director of "Servir Antico", an ensemble devoted to the music and texts from the humanistic period, and also regularly performs with Corina Marti as the "Duo Marti – Vicens" (Medieval keyboards) and as keyboardist and percussionst in the "Ensemble La Traditora" (Renaissance and Baroque), Marc Mauillon & Pierre Hamon ensemble, (Guillaume de Mauchaut project) and “Mediva” (medieval & fusion) among many others. Besides her busy performing career, Catalina holds a position as organist and teacher in Switzerland. Read more about Catalina on her website.
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ModernMedieval Sanctum et Saeculare Jacqueline Horner-Kwiatek MEZZO-SOPRANO Elizabeth Weinfield VIELLE and TENOR VIOL SATURDAY • FEBRUARY 4, 2017 • 9 PM Program will be repeated at Bruno Walter Hall at the Lincoln Center Library for Performing Arts on Saturday, February 11, at 2:30 pm. Sample program |
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The Anonymous 4 star joins forces with Elizabeth Weinfield in a duo recital of medieval through contemporary repertoire including settings of Hildegarde texts by renowned British composer Michael Finnissy. World premieres by Joel Friedman, Daniel Thomas Davis, and Andrew Lovett.
Read more about ModernMedieval at www.modernmedieval.org.
Read more about ModernMedieval at www.modernmedieval.org.
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Dan McCarthy BAROQUE VIOLA FRIDAY • JANUARY 6, 2017 • 7 PM Georg Philipp Telemann • Fantasia No. 7; TWV 40:20 J.S. Bach • Suite No. 1, BWV 1007 Intermission J.S. Bach • Partita No. 2, BWV 1004 |
DAN MCCARTHY's playing has been described simply as “virtuosic” by Seen and Heard International. He was part of the first class of baroque violists ever to be accepted into the historical performance program at The Juilliard School, where he was often featured performing on violin, viola d'amore, and viola da gamba. As a modern violist, Dan holds a doctorate in viola performance from the University of Maryland, where he was an active performer in the Washington D.C area. There, he gave concerts and lectures at George Washington University, American University, the Library of Congress, and the National Portrait Gallery. He holds other degrees from the University of Michigan, and the Interlochen Arts Academy. Dan has served as section violist with the Trinity Baroque Orchestra, concertmaster of the Austin Baroque Orchestra, and tenor gambist with Parthenia. He has also performed and toured extensively throughout North America, East Asia, and Europe with Jordi Savall, Masaaki Suzuki, Orchestra of the Age of Enlightenment, Tafelmusik Baroque Orchestra, and the American Bach Soloists. Here on the east coast he has played with Brooklyn Baroque, the New York String Quartet, Big Apple Baroque, Yale Schola Cantorum, Dorian Baroque Ensemble, and New Vintage Baroque. Dan is currently engaged with La Fiocco, Bach Vespers at Holy Trinity, the Queens Consort, and the Curiosity Cabinet.
2016 Season
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Clay Zeller-Townson
DULCIAN SATURDAY, FEB 6, 2016 | 7 PM Works by Bertoli, Storace, Salaverde, and Böddecker; and the premiere of a work for dulcian by American composer Thomas Dempster Respondent: James Kopp Clayton Zeller-Townson is an energetic and versatile performer who performs widely on many types of bassoons. Recent concerts have brought him to Japan, Singapore, France, Germany, and much of North America. He performs frequently with Tafelmusik Baroque Orchestra, in Toronto; Mercury Baroque, in Houston; and the Trinity Wall Street baroque orchestra, the Sebastians, the Clarion Society, Holy Trinity's Bach Vespers series, and the Helicon Foundation, in New York. He can be heard as principal bassoon on the ArchivMusic recording of the Stravinsky Octet with the Eastman Wind Ensemble. In addition to performing, Zeller-Townson teaches and conducts at The North Carolina Governors School, an interdisciplinary residential summer institution for gifted and talented high school students. He studied at the Eastman School of Music and the Juilliard School. |
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Respondent James Kopp is a bassoonist, commercial reed maker, and writer. He has performed with leading period instrument orchestras in New York, Boston, Philadelphia, and Washington, and also as a modern bassoonist and contrabassoonist. He earned a PhD from the University of Pennsylvania in 1982, where he also taught music history and theory; he later taught at Georgia State University and Mercer University. The author of The Bassoon (Yale UP, 2012), he has been a senior editor and contributor to The New Grove Dictionary of Musical Instruments (Oxford UP, 2014). His articles on the history and acoustics of woodwinds have appeared in JAMIS, Galpin Society Journal, The Double Reed, British Double Reed News, Rohrblatt, Grove Dictionary of American Music, Lexikon der Holzblasinstrumente (Laaber, forthcoming), and MGG. He has spoken at conferences in the United States, United Kingdom, Germany, and Switzerland, and he has led workshops on reed making techniques at The Juilliard School, the Royal Academy of Music, and many universities. He is currently preparing a book, Advanced Topics for Bassoon Reed Makers, which discusses the acoustics of the bassoon, its embouchure and reed, as well as the craft and history of bassoon reed making.
2015 Season
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Jude Ziliak BAROQUE VIOLIN SATURDAY, APRIL 18, 2016 | 7:30 PM I Come to the Garden Alone: German Music for Solo Violin “Choice flowers … of charming rarity.” So Handel described the contents of his gift to Telemann in 1754. So too might we describe this assortment of (mostly) German works for solo violin, by Telemann, Bach, Vilsmayr, and Montanari. This program begins with disorderly, manic virtuosity from Montanari. It moves on to the civilized and touching music of Telemann, a rhapsody from Biber’s little-known student Vilsmayr, and finally Bach’s all-encompassing Ciaccona. |
JUDE ZILIAK is a New York-based violinist and independent scholar, specializing in historical performance practices. He is an inaugural recipient of the English Concert American Fellowship, which recognizes emerging artists “who appear likely to make significant contributions to the field of early music.” Active from Myanmar to Miami, he appears this season with the American Bach Soloists, Gotham Chamber Opera, Sonnambula, New Vintage Baroque, Clarion Music Society, Trinity Baroque Orchestra, and Concert Royal. Recent highlights include performances with William Christie and Les Arts Florissants at the Rencontres musicales en Vendée and with Richard Egarr at the Britten-Pears School. He has presented his historical work on 19th century Bach reception for the Society for Eighteenth Century Music and at the Juilliard School. After studying the modern violin with Bayla Keyes, Ziliak earned a Graduate Diploma in Juilliard’s Historical Performance program, studying with Monica Huggett and serving as concertmaster for Juilliard415 under Jordi Savall. A shorter version of this concert took place earlier in the week on the Midtown Concerts series.
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SHIRLEY HUNT brings fierce imagination and integrity to the music of the Renaissance, Baroque, and contemporary eras on both the cello and viola da gamba. Praised by The Strad as “stylish and accomplished,” she embraces an eclectic musical life as a multi-instrumental soloist and collaborator. Last season Ms. Hunt released J.S. Bach Suites & Sonatas Volume One, the first installment in an ambitious three-part series 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.” As an active collaborator, Ms. Hunt is a member of New York’s Sonnambula Viol Consort, Boston’s Musical Offering, Bradamente Cello Duo, and Douglas Detrick’s AnyWhen Ensemble — a chamber-jazz quintet. She also frequently performs with some of the West Coast’s leading period instrument ensembles including Philharmonia Baroque Orchestra, American Bach Soloists, Musica Angelica Baroque Orchestra, and Bach Collegium San Diego. In 2011 she toured Europe and South America with John Malkovich and Wiener Akademie. Ms. Hunt has given solo recitals at the Berkeley Early Music Festival, the Boston Public Library, and the Museum of Jurassic Technology in Los Angeles. This season she will appear at the Phillips Collection in Washington, D.C. and at the Metropolitan Museum of Art in New York, performing on a viola da gamba from the museum’s collection. Recently she also debuted at La Jolla Music Society SummerFest, where she performed two of Haydn’s Baryton Trios on the unusual viol-family instrument for which they are named. In addition to her wide-ranging live performances, Ms. Hunt can be heard on the Parma, NCA, 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 has been an artist-in-residence at the Banff Centre. In 2010 she 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. After stints in Chicago, Los Angeles, and San Francisco, she now lives in Boston. Ms. Hunt performs on an English cello by William Forster Sr. and a bass viola da gamba by John Pringle.
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ELLIOT FIGG (b. 1979) is a keyboardist and composer from Dallas, Texas. He graduated in 2013 from the Historical Performance Program at The Juilliard School in New York where he studied harpsichord with Kenneth Weiss, further studying with Arthur Haas at the Yale School of Music. Elliot is an active member of several New York based early music and contemporary ensembles, including The Colonials, ACRONYM Ensemble, and Trio Coprario. Most recently he performed as harpsichordist and organist in LA Opera's Dido and Aeneas. Elliot has previously performed as soloist in Phillip Glass’ Concerto for Harpsichord and Orchestra with conductor Joel Sachs (New Juilliard Ensemble), and as organ soloist in Handel’s Il Trionfo del tempo e del disinganno with conductor William Christie (Juilliard415). In his time at Juilliard, Elliot also worked with Harry Bicket, Ton Koopman, Richard Egarr, and Fabio Biondi among others. Elliot received Bachelor's and Master's degrees in music composition from the University of North Texas where he studied composition with Cindy McTee and Joseph Klein, and harpsichord with Lenora McCroskey. His own works combine Baroque performance techniques with altered tuning systems and modern formal approaches. One such work, Sonate für Violine und Generalbaß, was performed at the Boston Early Music Festival (2005). And Music Shall Untune the Sky, on a text by John Dryden, was written for and recorded by tenor Richard Croft (2007).
spectrum • 121 ludlow street #2 • new york city 10002 • glenn cornett, managing director
www.spectrumnyc.org
www.spectrumnyc.org