“that day will dissolve the world in ashes!”
Denver Friday, October 31, 2014
7:30 pm
Evanne Browne, Artistic Director
St. Paul Lutheran Church
Soloists:
6:45 pm Pre-concert Talk
Boulder Saturday, November 1, 2014
7:30 pm
6:45 pm Pre-concert Talk
First United Methodist Church
Choir, vocal soloists and period instruments
Amanda Balestrieri, soprano
Marjorie Bunday, alto
Steven Soph, tenor
Ryan Parker, baritone
Kajsa Teitelbaum, organ
Pre-concert talks given by Dr. Deborah Kauffman
BOARD OF
~ DIRECTORS ~
2014-2015
President
Michael Weitzner
VICE-PRESIDENT
Linda Lunbeck
SECRETARY
Nancy Lillie
TREASURER
Deborah Vink
Donald Frey
Douglas Hofmeister
James Kates
Sharon Reimer
Maureen Solomon
~ personnel ~
ARTISTIC DIRECTOR
Evanne Browne
ASSISTANT
CONDUCTOR
Mark Alan Filbert
ACCOMPANIST
Devon Howard
ARTISTIC ADVISORS
Amanda Balestrieri
Mimi Mitchell
ADVERTISING
COORDINATORS
Mary Jarrett
Linda Lunbeck
BOOKKEEPER
Lessa Redding
GRANTS AND
FUNDRAISING
Diana Doyle
Don Frey
Douglas Hofmeister
Maureen Solomon
Deborah Vink
PHOTOGRAPHER
Rich Saxon
GRAPHIC DESIGN
Karen Sperry
PUBLICITY
Rebecca Tice
TICKETING
Abigail Sperry
Anne Starke
2 notes from the Artistic Director
Our Halloween, or All Hallows’ Eve, has roots in Celtic
and Druid traditions marking the end of harvest
season and, with the dimming of the sun, the beginning of the cold, dark winter. The Celts believed that
this transition between the seasons was a bridge to
the world of the dead. Over the centuries, the holiday
evolved from a somber pagan ritual to a time for costumes, parties, candy treats and the threat of tricks.
Odilo of Cluny set aside November 2nd as All Souls’
Day, a day of masses and prayers for the souls of the
departed to be released from Purgatory and allowed
into Heaven. The Dies irae, a 13th-century Latin
poem, is part of the traditional liturgy for All Souls’
Day. These nineteen rhymed stanzas in trochaic
meter are rendered dramatically in the Requiem, or
Mass for the Dead, by many composers, including
Mozart, Verdi, Duruflé and Berlioz. The De profundis,
the Latin setting of the penitential Psalm 130, is sung
at vespers in commemoration of the dead. Both of
these texts were beautifully set by Michel Richard
de Lalande, a prolific composer of sacred music and
one of the few composers who asserted any musical influence during the life of Jean-Baptiste Lully.
De Lalande’s Dies irae setting was written for the
funeral of Grande Dauphine Marie Anne Victoire of
Bavaria in 1690 and evidently revised later for the
funeral of the Grand Dauphin Louis, son and heir
of Louis XIV. The Dauphin’s funeral was in 1711; poignantly, the same year de Lalande’s two daughters
died. I first heard the work on its only available commercial recording (Philippe Herreweghe, La Chapelle
Royale) and immediately knew that Seicento must
perform it. Seicento “conquered” French baroque
style (vocal trills, notes inégales, and the appropriate French pronunciation of Latin) with our concert
of Divine Histories in 2013, and the exquisite music
of de Lalande is a significant addition to our repertoire. The only extant score is the one we are using
tonight, edited by Lionel Sawkins, and we know from
Mr. Sawkins our concert is the Western Hemisphere
premiere performance.
I am pleased to introduce Seicento’s two youngest soloists who will appear in tonight’s Dido and
Aeneas witches’ scene. Rachel Morrissey is a fresh-
man at CU Boulder, and Leah
Weitzner is a high school senior.
Both have learned basic baroque
style by singing with Seicento
for multiple concerts. Selected
to be our third Apprentice Artist
for Early Music Performance,
Leah received four lessons from
me and one from soprano soloist and Artistic Advisor, Amanda Balestrieri. Please read the bios for both
Leah and Rachel. It has been a joy to work with these
amazing young women.
We always appreciate receiving financial support,
without which we could not present our concerts.
This year we are delighted to have been awarded a
generous grant for operating support from Colorado
Creative Industries. Hildegard Institute, launching
their Colorado presence, has sponsored our lead
violinist, Mimi Mitchell. And I am personally greatly
honored to be sponsored by the generosity of the
Bates-Weiss and Solomon families. Maureen Solomon was our founding President, and she and her
family have been instrumental in launching and sustaining Seicento. Our Founders Circle has closed this
fall with a striking 20 members. If you missed that
opportunity, you are always invited to join our list of
generous donors.
For many in our area, this has been a dark year, and
this program of death and wrath may reflect some of
that shared experience. One year ago, Seicento Soloists were scheduled to sing in Lyons, a concert we
rescheduled for Boulder following the mid-September
flood. In addition, we recently lost two noteworthy
masters of baroque music, Christopher Hogwood and
Frans Brüggen. But music both reflects tragedy and
inspires renewed vitality. I hope tonight’s dark topic
of death and wrath is transcended by the gorgeous
music, and that our concert, our musicians, and these
moments of beauty bring you inspiration and joy.
Evanne Browne
Artistic Director
D E D IC A TION
Seicento dedicates this concert in memory of Frans Brüggen, recorder and traverso player and founder of
the Orchestra of the Eighteenth Century; and in memory of Christopher Hogwood, harpsichordist,
conductor and founder of the Academy of Ancient Music. The visionary work of these two great pioneers in
the field of historically-informed performance has significantly influenced, informed and inspired Seicento.
Evanne Browne, artistic director
sponsors:
Amanda
Balestrieri
soprano
Marjorie Bunday
alto
Mimi Mitchell
baroque violin
sponsor:
Elisa Wicks
baroque
violin
Dr. Marjorie Bates and Dr. Richard Weiss
Maureen and Harvey Solomon
Steven Soph
tenor
Terri Moon
baroque
violin
Ryan Parker
baritone
Emily Bowman
baroque
viola
Tamara Meredith
baroque viola,
traverso
Leah Weitzner
soprano,
apprentice artist
Rachel
Morrissey
alto
Sandra Miller
baroque
cello
Kajsa Teitelbaum
organ,
harpsichord
Hildegard Institute
program
Toccata and Fugue in d minor
(BWV 538)........................ Johann Sebastian Bach (1685 – 1750)
Kajsa Teitelbaum, organ
De profundis
clamavi (S23)................ Michel Richard de Lalande (1657-1726)
(Selected movements)
BASS SOLO AND CHORUS: De profundis clamavi
TRIO: Quia apud te propitio est
CHORUS: A custodia matutina usque
TENOR ARIA: Quia apud Dominum
CHORUS: Et ipse redimet Israel
CHORUS: Requiem aeternam
Amanda Balestrieri, Marjorie Bunday, Steven Soph, Ryan Parker
Dido and Aeneas, Act II, Scene 1.......Henry Purcell (1659-1695)
ORCHESTRA: Prelude for the Witches
SORCERESS RECITATIVE: Wayward sisters, you that fright
CHORUS: Harm’s our delight and mischief all our skill
SORCERESS RECITATIVE: The Queen of Carthage, whom we hate
CHORUS: Ho, Ho, Ho!
SORCERESS AND WITCHES RECITATIVE: Ruin’d ere the set of sun?
WITCHES’ DUET: But, ere we this perform, We’ll conjure for a storm
CHORUS: In our deep vaulted cell
Marjorie Bunday, Sorceress; Leah Weitzner, First Witch;
Rachel Morrissey, Second Witch
O quam gloriosum est regnum (Antiphon to the
Magnificat at Second Vespers) . .............Vincenzo Bertulosi
(1550-1608)
Gaudeamus omnes in Domino
(Introit)...............................................William Byrd (1540-1623)
Der Gerechte kommt um ..........Johann Kuhnau (1660 –1722),
arr. J. S. Bach
INTERMISSION
Dies irae (S31)................ Michel Richard de Lalande (1657-1726)
ed. Lionel Sawkins
CHORUS: Dies irae, dies illa
CHORUS: Quantus tremor est futurus
BARITONE RECITATIVE: Tuba mirum spargens sonum
CHORUS: Mors stupebit et natura
TENOR RECITATIVE-ARIA-RECITATIVE: Liber scriptus proferetur
CHORUS: Recordare Jesu pie
SOPRANO DUET: Quaerens me, sedisti lassus
BARITONE RECITATIVE: Juste judex ultionis
CHORUS: Inter oves locum praesta
SOPRANO RECITATIVE: Oro supplex et acclinis
TRIO: Lacrimosa dies illa
CHORUS: Pie Jesu Domine
Amanda Balestrieri, Marjorie Bunday, Steven Soph,
Ryan Parker, Leah Weitzner
We are proud to be supported in part by Colorado Creative
Industries and the National Endowment for the Arts.
Motets for the Feast of All Saints’ Day
Directed by Mark Alan Filbert, Assistant Conductor
Vidi turbam magnam (First Antiphon
at Vespers)................................ Pompeo Cannicciari (1670-1744)
Amanda Balestrieri, Marjorie Bunday
This project is funded in part by
Boulder County Arts Alliance through the
BCAA/Neodata Endowment Grant Program.
a musical detective story
Although known to have been composed in 1690, no copy of Lalande’s
Dies irae appeared to have survived to modern times. But, a manuscript
copy suddenly appeared at a Paris auction sale in 1950 at which it was
bought by a wealthy book collector for his library in Strasbourg, France,
and so again disappeared from view. Happily, in 1960, the owner allowed
two French musicologists to see the volume and they published articles
about it in an obscure French journal that had just commenced publication. I caught up with these articles in 1971 when I had first started to
investigate the extent and worth of Lalande’s sacred music, after examining other works which were in an English library. By 1974, I had managed
to make contact with the rather reclusive Strasbourg gentleman who
owned the Dies irae manuscript, and eventually, through an accidental
meeting with his daughter (who was in London singing in a concert), I
obtained permission to visit him at his home.
At first he allowed me only a short time to look at it, and make a few
notes. Of the four works in the volume, it was immediately clear to me
that Dies irae was striking in its beauty and the most important. Over
the next years, he permitted me two other visits until he felt able to let
me study the work and make extensive notes for several hours, although
unwilling for a film to be made. It was 1983 before he consented to a
microfilm being made, and so I set off with camera, tripod and 35 mm
film. For reasons that weren’t clear to me, he decided I should make this
film at the home of a friend of his (also in Strasbourg). With typical French
hospitality, his friend’s wife insisted on serving my wife, daughter and
myself with a 5-course lunch before the filming. By the time I was able
to start, it was late afternoon, and with flash forbidden, I had to depend
on what light filtered in to an overfurnished lounge. Having taken the
precaution of developing the films before I left Strasbourg, I returned
to England and printed out the negatives (no digital cameras then!).
A careful examination of the manuscript had already shown me that
despite its date (1739), the person who had copied it was easily identified
as being a copyist known to Lalande (who had died in 1726). (Music writing is as distinctive as handwriting, and it is often quite easy to identify
the copyist by comparison with other known copies he or she has made.)
However, this copy, like many at the time, was what we call a ‘reduced’
score which omitted the inner orchestral parts (those for violas), sometimes done to make the score more easily playable from the harpsichord
or organ. Thus, if I was to produce a performable edition, I had to set
about composing these missing parts in a style as near as I could guess
to what the composer might have done; here, the many other works for
which we do have his viola parts provided useful clues.
In 1989, the opportunity to have the work performed and recorded unexpectedly arrived when the Centre de Musique Baroque at Versailles in
4 Portrait of Michel Richard de Lalande by Henri-Simon Thomassin,
engraver (1687-1741), from a painting by Jean-Baptiste Santerre (1651-1717).
Upload, stitch and restoration by Jebulon [Public domain], via Wikimedia Commons
France decided to mount a festival of Lalande’s music in 1990 and invited
me to suggest which works should be performed and to produce editions
of them where they did not already exist. Preparation of the scores and parts
would have previously required many hours of copying by hand, as I had
already done for many other works, but, happily, music software was beginning to appear on the market, and armed with the latest Apple Macintosh,
I was able to prepare all the musical material in a much more legible form.
The Centre also invited several of the best European baroque ensembles to
perform, and Lalande’s Dies irae as well as his Miserere were given in various
locations in France by La Chapelle Royale directed by the Flemish musician
Philippe Herreweghe, and then recorded by Harmonia Mundi. The resultant
CD won the Grand Prix du Disque for 1990! Thus, 300 years after its composition and 40 years on from its first rediscovery, the beauties of Lalande’s
Dies irae were at last restored to the repertory!
~ Lionel Sawkins, Editor, French Music Editions, Beckenham, England
F a l l 2 0 1 4 s e i c e n t o b a r o q u e e n s e m b l e 5 performers
choir
SOPRANOS
Diana Doyle
Toby Haddow
Deborah Kauffman
Nancy Lillie
Tambre Rasmussen
Abigail Sperry
Deborah Vink
Leah Weitzner
ALTOS
JoAnn
Gudvangen-Brown
Mary Jarrett
Betsy Lawlor
Linda Lunbeck
Rachel Morrissey
Lessa Christina Redding
Maureen Solomon
Kate Stuart
TENORS
Keith Emerson
Nnamdi Ezeanochie
David Greene
Tony Lee
Tony Porter
Chuck Smythe
Michael Weitzner
Greg Werner
BASSES
Mark Alan Filbert
Kenneth Guimond
Douglas Hofmeister
James Kates
Mark Lawlor
Stuart Naegele
Thomas Strickland
Benjamin Swain
Torry Van Slyke
Steve Winograd
6 Soprano Amanda Balestrieri was born in England, won two scholarships to Oxford University where she
received her BA/MA in German and French, studied voice
in London and Milan, and performed with the Academy of
St. Martin in the Fields in London and Germany, after which
she moved to the U.S. Her varied career has included work
with symphony orchestras throughout the U.S., including several appearances with the National Symphony in
Washington, D.C., under the batons of Leonard Slatkin and
Christopher Hogwood in works by Mozart and Vaughan
Williams, and recently with the Colorado Symphony in
Boettcher Hall in Denver.
Hailed by critics for her “radiant intelligence” and the
“luminous warmth” of her voice, Ms. Balestrieri is in high
demand for her musicianship and her skills in baroque repertoire. She has appeared with the major period instrument
ensembles throughout the U.S., such as New York Collegium, Concert Royal/New York Baroque Dance Company,
St. Thomas Choir New York, the Smithsonian Chamber
Players, the Four Nations Ensemble, the Folger Consort, the
Washington Bach Consort, Musica Angelica in Los Angeles, American Bach Soloists in San Francisco, and Santa Fe
Pro Musica. Recitals have taken her to the 92nd Street Y in
New York, and the Phillips Collection and French Embassy
in Washington, D.C. She has been critically acclaimed for
her performances of Handel’s Messiah, and has appeared in
several baroque operas, notably with Opera Lafayette and
the Folger Consort. She was nominated for a “Wammie” as
Best Classical Vocalist in Washington, D.C., in 1999, and has
recorded with the Dorian, Koch, and Virginia Arts labels.
Ms. Balestrieri has been a popular guest soloist in the
Denver area with the Baroque Chamber Orchestra of
Colorado, the Colorado Symphony, Colorado Pro Musica,
Sphere, Ars Nova, Seicento Baroque Ensemble, the Denver
Early Music Consort (DEMC), Boulder Bach Festival, and
the Fort Collins Symphony. Her voice has been featured
frequently on Colorado Public Radio. Recent repertoire
includes Pergolesi’s Stabat Mater, Villa Lobos’ Bachianas
Brasileiras, and Barber’s Knoxville: Summer of 1915 with
the Colorado Symphony. Her 2014-15 season includes A
Midsummer Night’s Dream with the Colorado Ballet, Knoxville with Pro Musica Colorado, an all-Schubert program
with ArcoVoce in Washington, D.C., and appearances with
DEMC, Cadmus, Dazzle Jazz, Parish House Baroque, Semplice, and Seicento.
Marjorie Bunday, alto, is a critically acclaimed
singer known not only for her “warm and pure-toned
mezzo” voice (Washington Post) but also for impressive range, versatility, and musicianship. The Denver
Post praised “Bunday’s honey-toned, refined reading of
Monteverdi’s ‘Laudate Dominum in sanctis eius’ motet”
in 2010, and her 2011 performance as alto soloist in Bach’s
Christmas Oratorio garnered accolades from both the
Denver Post (“strong, soaring tone”) and the Boulder
Daily Camera (“sonorous intensity”). Noted for excellence
in early music, Marjorie has sung medieval, renaissance,
and baroque music across the US, including the Boston
Early Music Fringe Festival, and she is founder and artistic
director of the Denver Early Music Consort. Her work
with DEMC is establishing her reputation as a thoughtful
concert programmer, music researcher, and lecturer – critic
Robin McNeil wrote on the music blog OpusColorado, “she
is not just a fine contralto, she is also a scholar of music.”
Since moving to Denver from Washington, D.C., in 2011,
she has enjoyed appearances as a soloist with Seicento
Baroque Ensemble, Boulder Bach Festival, Colorado Bach
Ensemble (singing Bach’s solo alto cantata Vergnügte
Ruh), Baroque Chamber Orchestra of Colorado (including the role of Testo in Stradella’s La Susanna), St. Luke’s
Bach Festival in Fort Collins, Pro Musica Colorado Chamber Orchestra, St. Martin’s Chamber Choir, and St. John’s
Episcopal Cathedral Choir. She returned to D.C. and the
Kennedy Center Concert Hall stage in March 2014 as
Noble Orphan 3 in Strauss’s Der Rosenkavalier with the
National Symphony Orchestra, and in July she premiered
the role of Beatriz in Boulder composer Paul Fowler’s
opera Behold the Man. She is a staff singer at St. John’s
Episcopal Cathedral in Denver, and can often be found in
the alto sections of St. Martin’s Chamber Choir and Colorado Bach Ensemble. Marjorie’s 2014-15 concert schedule
includes appearances with Boulder Chamber Orchestra, Denver Eclectic Concerts, Luminous Thread Opera
Theatre (as music director and mezzo), and the Baroque
Chamber Orchestra of Colorado.
Tenor Steven Soph performs as a concert soloist and chamber musician throughout the United States
and Europe. Upcoming engagements include Uriel
in Haydn’s Creation with Texas Choral Consort, arias
in Bach’s Mass in B-minor with Symphony Orchestra
Augusta, Handel’s Messiah with Bach Society of St. Louis,
Monteverdi Vespers of 1610 with Seicento Baroque, Jephte
in Carissimi’s Jephte with Baroque Chamber Orchestra
of Colorado, Evangelist and arias in Bach’s St. Matthew
Passion with Chicago Chorale, and the Musica Sacra Maastricht Festival in the Netherlands with Cut Circle. Recent
highlights include: Cleveland Symphony solo debut under
Ton Koopman in an all-Handel program in Severance Hall,
Evangelist in Bach’s St. John Passion with Chicago Chorale, one-voice-per-part St. John Passion and Mass in
B-minor with Spire and the Indianapolis Baroque Orchestra, arias in Bach’s St. Matthew Passion and St. John
Passion with Voices of Ascension, NYC, as well as with the
Colorado Bach Ensemble, Handel’s Messiah with Seraphic
Fire, Abendmusik, and St. John’s Cathedral, Denver, and
appearing as a Young American Artist with the City Choir
of Washington, D.C. Mr. Soph performs and records with
ensembles around the nation including Seraphic Fire,
Conspirare, Yale Choral Artists, Musica Sacra, Tucson
Chamber Artists, Cut Circle, Spire, and Sounding Light. He
is a graduate of the University of North Texas, Yale School
of Music, and Yale Institute of Sacred Music and appeared
at the Carmel Bach Festival Summer 2014 as a Virginia
Best Adams Fellow.
Dies
Irae
“The day of wrath . . .”
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performers
Baritone Ryan Parker performs opera and concert works across the
Front Range and abroad, including Cosi fan tutte, Don Giovanni, and Gianni
Schicchi with University of Northern Colorado Opera Theatre, Tosca and
Carmen with Opera Fort Collins, and La Bohème and The Mikado with Loveland
Opera Theatre. In July, he premiered the role of Arturo/ Young Priest in Boulder
composer Paul Fowler’s opera, Behold the Man. He has collaborated with a
wide variety of ensembles including the Central City Ensemble Artists, Opera
Fort Collins, Loveland Opera Theatre, Opera Colorado, Boulder Opera, Greeley
Philharmonic Orchestra, UNC Opera Theatre, Opera Classica Europa, Colorado
Korean Chorus, Ars Nova, and the Boulder Chorale. Ryan currently serves as the
Vocal Music Director and Fine Arts Coordinator at Boulder Country Day School.
He holds certifications in both Orff-Schulwerk and Kodaly methodologies and
is a strong advocate of creative and sequenced music instruction.
Soprano Leah Weitzner, Seicento’s 2014 Apprentice Artist in Early
Music Performance, is currently a senior at South High School in Denver where
she also serves as Student Choral Music Director. Having sung in choirs since
the age of 4, Ms. Weitzner has developed a deep passion for vocal music. This
is her third year in Seicento Baroque Ensemble and second year in the Boulder Bach Festival Choir. In the summers of 2012 and 2013, she participated in
Rocky Ridge Music Center’s Young Artist Seminar for voice and piano, studying
under vocal Professor Daniel Ihasz. In 2013 she also studied with Celine Ricci
at the Rocky Ridge Music Center’s Early Music Festival. She currently studies
with Sarah Davis Eaton. Ms. Weitzner spent this past summer as a Young Artist
at Boston University’s Tanglewood Institute singing under the baton of John
Williams at Tanglewood Film Night, and performing in Opera Scenes from The
Ballad of Baby Doe and The Merry Widow. She plans to pursue a degree in vocal
performance with an emphasis in early music.
Alto Rachel Morrissey has been singing with Seicento Baroque
Ensemble for two years. She is the voice student of Lauren Sawyer of the
Boulder Music Institute. Currently a physics student at the University of
Colorado, Boulder, she hopes one day to attend a conservatory to study
opera. Ms. Morrissey thanks her parents and Lauren for their love and
support and thanks Seicento alto, Anne Starke, for sparking her love of
early music.
Swedish-born Kajsa Teitelbaum (organ, harpsichord) is a DMA
student in organ performance at the University of Colorado, Boulder. She is
studying with Elizabeth Farr, and focuses on solo organ music from the seventeenth and eighteenth centuries, as well as nineteenth century Swedish
romantic organ repertoire.
Ms. Teitelbaum holds an MA in sacred music from the Royal College of Music
in Stockholm, Sweden, and a cantor degree from Geijerskolan in Ransäter,
Sweden. She has studied improvisation with Stefan Therstam, solo organ with
Melody Steed and Mats Åberg — one of Sweden’s most renowned organists
— and piano with Per Östlund, Kerstin Åberg, and Daniel Masterson. She has
also participated in master classes with Francois-Henri Houbart, David Sanger,
and Anders Bondeman.
As a soloist, Ms. Teitelbaum has performed throughout the United States,
Sweden, and Serbia. She has also been soloist and accompanist for such
ensembles as the Lindsborg Community Orchestra, KS, the Boulder Chamber Orchestra, Cantabile in Boulder, and Yampa Valley Chorus in Steamboat
Springs. Teitelbaum currently serves as Director of Music at First Congregational Church in Boulder. The fall of 2012 marked the release of her first CD,
Body Language, with singer Heather Haginduff.
The
Renaissance
Project
2014-15
Spanish Masters:
Victoria, Morales, y mas!
November 22 & 23, 2014 - Erie and Boulder
Tongue in Cheek:
The Flip Side of Renaissance Greats
February 21 & 22, 2015 - Lyons and Boulder
Voices Through the Ages:
A Mix of Old & New
May 23 & 24, 2015 - Erie and Boulder
For full concert details, visit
www.renaissanceprojectboulder.org
8 F a l l 2 0 1 4 s e i c e n t o b a r o q u e e n s e m b l e 9 performers
Baroque violinist Mimi Mitchell received her B.M. and M.M. magna
cum laude from Rice University (USA) before continuing her studies with Jaap
Schröder at the Sweelinck Conservatory in Amsterdam. During her studies,
she co-founded The Locke Consort, which won first prize at the Erwin Bodky
Competition (Boston) and the Early Music Network Young Artists’ Competition (London). Ms. Mitchell performs throughout the world and has made
numerous recordings of 17th century English music. She performs with many
of Europe’s and America’s leading early music ensembles, including Anima
Eterna, Currende, Amsterdam Baroque Orchestra, Rheinische Kantorei and
the Parley of Instruments.
Conducting from the violin, Ms. Mitchell works with modern musicians as well
as early music specialists. For more than ten years, she has conducted a baroque
string orchestra in Amsterdam. Directing a modern chamber orchestra, she won
the “Nagrada Jurica Muraj” at the Varazdin Baroque Evenings (Croatia) for the
best performance of the festival in 2006. In 2013 she conducted the Varazdin
Chamber Orchestra with Richard Egarr as the keyboard soloist.
Ms. Mitchell enjoys combining her research and performing skills and has
been awarded numerous grants for her work at the Kroměříž Archive in the
Czech Republic. With the Dutch ensemble In Stil Moderno, she has performed her discoveries at numerous prestigious festivals, including the
Utrecht Early Music Festival, the Prague Spring Festival and the Cork Early
Music Festival. She has also brought her Kroměříž program to the USA with
Seicento Baroque Ensemble in 2012 and presented chamber music from
the collection for the Society of Seventeenth Century Music conference
in 2014.
Ms. Mitchell is currently pursuing her PhD at the University of Amsterdam.
She is researching the baroque violin revival and has been chosen to present
papers on this topic at musicology conferences in Tel Aviv, London, Melbourne, and Basel, Switzerland. Ms. Mitchell is also in demand as a lecturer,
teacher and coach and has taught in the USA, France, Germany, England,
Croatia and the Netherlands.
Violinist Elisa Wicks has been an active performer in the baroque community for over 10 years. She is the artistic director of Parish House Baroque, a
Colorado Springs early music ensemble. In addition, she has concertized with
Chatham Baroque, the Baroque Chamber Orchestra of Colorado, Seicento,
Bach and the Baroque, and with members of Apollo’s Fire. She was co-concertmaster of the Pittsburgh Baroque Ensemble, and served as concertmaster
and soloist for the Case Western Reserve University Baroque Orchestra. Elisa
studied baroque violin with Cynthia Roberts and received further instruction
from Julie Andrijeski, Jeanette Sorrell, Marilyn McDonald, and Reinmar Seidler.
She also performed Biber’s solo-violin Passacaglia for Lucy Van Dael, and studied baroque tuning, temperament, and improvisation with Ross Duffin.
Recent major performances include Monteverdi’s Vespers (a collaboration between Chatham Baroque and the Spiritus Collective), Charpentier’s
Requiem, Bach’s St. Matthew Passion, and a ground-breaking recreation of
Bach’s 1725 St. John Passion directed by Bach scholar Don Franklin.
Ms. Wicks earned the Bachelor and Master of Music degrees in Violin Performance and Suzuki Pedagogy from The Cleveland Institute of Music, where
she studied violin with Stephen Rose and Linda Cerone; and Suzuki pedagogy
with Michelle George, Terri Einfeldt, and Diane Sloan. She has served on the
Suzuki faculty at the Cleveland Music School Settlement, and maintains her
own violin studio in Colorado Springs.
1 0 Baroque violinist Terri Moon’s love of playing baroque violin began while
she was earning a Master of Music degree in violin performance at the University of North Texas. She and her father, James W. Jennings, made the violin that
she plays using measurements taken from a Jacob Stainer violin from 1688. Ms.
Moon attended the Oberlin Baroque Performance Institute in 1983, and was then
invited to pursue early music in Amsterdam where she studied voice with Max
von Egmond and baroque violin with Mimi Mitchell. During her year’s study, she
was the only American traveling with the Dom Choir and Orchestra of Utrecht
in the Netherlands on tour performing Messiah in Handel’s hometown of Halle
and Bach’s Magnificat in Leipzig. Ms. Moon performs as a soloist and chamber musician across Texas, in Colorado Springs and Denver, and is a member of
Colorado Springs’ new baroque ensemble, Parish House Baroque.
Baroque viola and traverso player Tamara Meredith’s dual roles as
historical performance specialist and librarian keep her active nationally as a
presenter, teacher, and performer. She holds degrees from Indiana University’s
Early Music Institute, Central Washington University, and the University of
North Texas. In the early music realm, Ms. Meredith is currently principal flutist
and frequent soloist with the Dallas Bach Society Orchestra and Baroque Chamber Orchestra of Colorado as well as section violist with both ensembles, and
has performed with such noted groups as Apollo’s Fire and Concert Royal. As
a “modern” instrumentalist, she performs regularly with the Wyoming Symphony and Cheyenne Symphony. She can be heard on the recordings Own the
Pow’r of Harmony! with mezzo-soprano Jennifer Lane and Cornucopia with the
Baroque Chamber Orchestra of Colorado. In addition to her musical pursuits,
Ms. Meredith is a librarian and technology specialist for the Albany County
School District #1 in Laramie, WY, and is completing a Ph.D. in Learning Technologies at the University of North Texas. Emily Anne Bowman, baroque viola, is a founding member of the
Baroque Chamber Orchestra of Colorado. Ms. Bowman has recently performed
as a guest of Parish House Baroque and Early Music Colorado’s Happy Hour
Chamber Concert series. Interested in sharing her love and enthusiasm for
baroque performance practice, Ms. Bowman presented “An Introduction to
Baroque Style Ornamentation and Improvisation: a Participatory Workshop” at
the Suzuki Association of the Americas conference in May of 2012. Ms. Bowman
conducts the Greater Boulder Youth Orchestra Philharmonic and teaches viola,
violin and fiddle with Boulder Suzuki Strings. She was recognized with the
“Exemplary Private Teacher” award in 2012 and 2013 by the American Strings
Teachers Association Colorado chapter. Ms. Bowman also performs with the
Free Range String Quartet and the Eldorado String Quartet, and joins the folk
Americana group, The Bowmans, whenever she can. Ms. Bowman received her
formal classical training from the New World School of the Arts and the University of Colorado College of Music graduating summa cum laude with a degree
in Viola Performance and was the recipient of the Gabor Ormai Viola Award. Sandra Miller, baroque cello, a native of Boston, Massachusetts, cur-
rently resides in Golden, Colorado and teaches and performs on cello, baroque
cello, and viola da gamba in the greater Boulder/Denver area. Ms. Miller holds
a BA from Wesleyan University and a MM from the University of Colorado at
Boulder where she studied cello performance with Judith Glyde and the Takács
String Quartet. She has worked with Catharina Meints and Marilyn McDonald at the Baroque Performance institute at Oberlin College as well as Luciano
Taulis and Gina Martinez Allende in Santiago, Chile. She currently studies
viola da gamba with Ann Marie Morgan and enjoys performing regularly with
the Baroque Chamber Orchestra of Colorado and Seicento Baroque Ensemble. Follow Boulder Arts & Events
at GetBoulder.com
ST. MARTIN’S CHAMBER CHOIR
T I M OT H Y J . K R U G E R , A R T I S T I C D I R E C TO R
COMING OF AGE
OUR 21ST SEASON
2014/2015
COMING OF AGE
MUSIC OF THE TSARS II
FULL
FRIDAY, OCT 3, 7:30 PM
Saint John’s Episcopal Cathedral :: Denver
SUNDAY, OCT 5, 3:00 PM
TAKE TWO:
FULL
ST. MARTINS CHAMBER CHOIR AND THE
SANTA FE DESERT CHORALE
TUESDAY, FEBRUARY 24, 7:30 PM
St. Augustine Orthodox Church :: Denver
Montview Blvd Presbyterian Church :: Denver
THE ART OF IMITATION:
PALESTRINA
CAMEO
FRIDAY, NOV 7, 7:30 PM
“BEAT, BEAT, DRUMS”
THE CIVIL WAR AT 150
FRIDAY, APRIL 10, 7:30 PM
Holy Cross Lutheran Church :: Wheat Ridge
Holy Cross Lutheran Church :: Wheat Ridge
SATURDAY, NOV 8, 7:30 PM
SATURDAY, APRIL 11, 7:30 PM
SUNDAY, NOV 9, 3:00 PM
SUNDAY, APRIL 12, 3:00 PM
St. Andrew’s Episcopal Church :: Denver
St. Andrew’s Episcopal Church :: Denver
St. Andrew’s Episcopal Church :: Denver
St. Andrew’s Episcopal Church :: Denver
A CAMBRIDGE CHRISTMAS
FULL
FRIDAY, DEC 12, 7:30 PM
SUNDAY, MAY 31, 3:00 PM
Holy Cross Lutheran Church :: Wheat Ridge
TAKE ONE:
HARDOUIN MASSES VOL. 2
SATURDAY, FEB 14, 7:30 PM
St. Elizabeth of Hungary Church :: Denver
FULL
Montview Blvd Presbyterian Church :: Denver
SUNDAY, DEC 14, 3:00 PM
Saint John’s Episcopal Cathedral :: Denver
BYRD 4
FRIDAY, MAY 29, 7:30 PM
Montview Blvd Presbyterian Church :: Denver
FRIDAY, DEC 19, 7:30 PM
CAMEO
St. Gabriel the Archangel Episc. Church Cherry Hills Village
FULL
PURCHASE TICKETS TODAY
FULL
Premium (front & center) $35 FULL $25 C AMEO
General Admission
$25 FULL $20 C AMEO
Student
$10
FULL =24 singers,
C AMEO =12 select singers
303-298-1970 :: STMARTINSCHAMBERCHOIR.ORG
F a l l 2 0 1 4 s e i c e n t o b a r o q u e e n s e m b l e 1 1 performers
Seicento’s accompanist, Dr. Devon Howard, began organ studies
in Colorado at the age of 13. After earning a BS degree in Organ Performance with Judy Glass at Southern Adventist University in Collegedale, TN,
he studied performance practice on historic instruments and improvisation
with Aart Bergwerff and Sietze de Vries in the Netherlands, on a Fulbright
scholarship. In 2012, he completed a Doctor of Musical Arts degree under
Dr. Kimberly Marshall at Arizona State University; his dissertation was titled
Organ Improvisation in Context. Dr. Howard has served as Vice President of
the Phoenix Early Music Society, continuo organist for the Phoenix Symphony Baroque Ensemble, and founded and directed Schola Cantorum, a
baroque choir in Collegedale, TN. He currently serves on the board of the
Boulder Symphony, is the continuo player and rehearsal accompanist for
Seicento Baroque Ensemble, is Dean of the Denver chapter of the American
Guild of Organists, and is the organist and accompanist for First Presbyterian Church of Boulder.
Assistant Conductor Mark Alan Filbert has served as Cantor
for Saint Paul Lutheran Church in Denver since February of 2002. He
earned Bachelor of Music degrees in sacred music and music education
from Oral Roberts University and Master of Music degrees in sacred music
and choral conducting from Southern Methodist University. At SMU, he
studied organ and harpsichord with Larry Palmer and choral conducting
with Lloyd Pfautsch and John Yarrington. He completed further study at
Northwestern University, Westminster Choir College, Hamline University,
and the University of South Carolina. He holds the Level III Orff-Schulwerk
Teaching Certificate from DePaul University. As Associate in Ministry with
the Evangelical Lutheran Church in America, he has served as Lutheran
parish musician in six states. He was a Fellow of Melodious Accord in 2007
after a course of study with Alice Parker. During a 2012 sabbatical, Mark
studied carillon with Frans Haagen at the Netherlands Carillon School in
Amersfoort and participated in organ master classes with Harald Vogel, Ton
Koopman, Margaret Phillips, and Leo van Doeselaar at the International
Organ Academy in Haarlem, the Netherlands.
An avid collector of hymnals, Mark is a Life Member of The Hymn Society in
the United States and Canada. He is also an active member of the American
Guild of Organists.
Seicento’s founder and Artistic Director Evanne Browne has performed, directed and championed period performances of early music
since the 1980s. As a concert soloist with many outstanding early music
chamber ensembles, Ms. Browne has enjoyed an active performance
career with the Smithsonian Chamber Players, the Folger Consort, The
Orchestra of the 17th Century, The Washington Cornett and Sackbut
Ensemble, and the Washington Bach Consort. She has also participated
in productions with period instruments of medieval, baroque and renaissance works including staged versions of the 13th century Play of Daniel,
Monteverdi’s Orfeo, Purcell’s Dido and Aeneas at the Kennedy Center, and
a celebrated performance of Hildegard von Bingen’s Ordo Virtutum per-
BOULDER
BACH
F E S T I VA L
ZACHARY CARRET TIN
MUSIC DIREC TOR
AERIS TRIO
THUR., OcT. 16, 7:30 PM
St. John’s Episcopal Church,
Boulder
FRI., OcT. 17, 7:30 PM
St. John’s Cathedral, Denver
SAT., OcT. 18, 7:30 PM
First Lutheran Church,
Longmont
ARTIST RECITAL
MASS IN B MINOR
Zachary Carrettin, conductor,
Boulder Bach Artists, Chorus,
and Orchestra
FRI., FEB. 27, 7:30 PM
Montview Blvd. Presbyterian
Church, Denver
SAT., FEB. 28, 7:30 PM
First United Methodist Church,
Boulder
Zachary Carrettin, violin
Mina Gajić, piano
SAT., JUNE 6, 7:30 PM
Grusin Hall, CU College of Music,
Boulder
www.boulderbachfestival.org
Tickets: www.thedairy.org 303.444.7328
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Specializing in making
the ordinary extraordinary.
Apply creativity and beauty to
business documents and websites.
join
in 2015!
Queen Christina
Denver Friday, March 6, 2015
Boulder Saturday, March 7
estes park Sunday, March 8
Vehicles
For Charity
Donate Your Vehicle
While Supporting
Your Favorite Charity!
Call 1-866-628-CARS
(1-866-628-2277) or
www.vehiclesforcharity.org
Wondering what to do with your
used car or truck? Donating
your old vehicle to Vehicles
For Charity is convenient and
easy, and may qualify you for a
tax deduction. Enter Seicento
in the Charity Name box and
your donation of a used car or
truck will make a big difference
in supporting the Seicento
Baroque Ensemble!
F a l l 2 0 1 4 s e i c e n t o b a r o q u e e n s e m b l e 1 3 performers
formed at the Washington National Cathedral and featured on the cover
of Early Music America Magazine. Ms. Browne has appeared multiple
times in the Montana Early Music Festival and the Washington, D.C., Early
Music Festival, and is a regular soloist with Harmonia Nova, a medieval
ensemble based in our nation’s capital. Since moving to Colorado, Ms.
Browne served as section leader for Ars Nova Singers, as chorister and
soloist with St. Martin’s Chamber Choir, and as soprano soloist with the
Baroque Chamber Orchestra of Colorado and the Boulder Bach Festival.
As soloist with Musikanten she has toured Argentina, the Baltic States,
Venice, Sarajevo, Turkey, Vienna, and, this year, Madrid. Her passion for
baroque music led her to produce the highly successful 2010 performance
of Monteverdi’s Vespers of 1610, the first documented performance of
that work in Colorado, and a piece Seicento will perform October 23-25,
2015. Ms. Browne’s inspiration to form Seicento was born of the success
and enthusiasm for that project.
This year finds Ms. Browne active in a variety of early-music-related
endeavors including travels with Musikanten to Spain and Montana where
she was soprano soloist for the Monteverdi Vespers of 1610, a contrast
to Cavalli’s Venetian Vespers of 1643 she also recently performed for the
annual Montana Early Music Festival. Ms. Browne is gaining recognition
as a workshop leader and guest lecturer, including for Denver’s Academy
for Lifelong Learning, Early Music Colorado, the Rocky Mountain chapter
of the Viola da Gamba Society and the Denver chapter of the American
Recorder Society. In May 2015, she will present Seicento Soloists in concert and coach students at the Lamont School of Music (University of
Denver) Convocation. Ms. Browne holds a Bachelor of Music from Trin-
CYNTHIA MILLER FREIVOGEL
LEADER-VIOLINIST
The Four Elements
The Story of Jephte
Marie (with Wonderbound )
Friends and Rivals
November 7-8
January 9-11
February 14-22
May 16-17
SEASON AND SINGLE TICKETS AVAILABLE AT: BCOCOLORADO.ORG
1 4 ity University and a Master of Music from the Shepherd School of Music
at Rice University. She studied baroque vocal performance practices
with Dutch baritone Max von Egmond at the Sweelinck Conservatory in
Amsterdam, the Netherlands. Ms. Browne is Director of Music at First
United Methodist Church in Boulder, where Seicento is honored to be
Ensemble in Residence.
Dr. Deborah Kauffman, pre-concert lecturer, is a professor of
Music History and Literature at the University of Northern Colorado. After
earning B.M. and M.M. degrees in piano performance at the University of
California at Santa Barbara and the University of Illinois, she completed
the D.M.A. degree in Early Music at Stanford University in 1994. She has
published a number of articles in international musicology journals on
topics in French Baroque music and has recently completed a book manuscript on the musical repertory of the Maison de Saint-Louis at Saint-Cyr,
which will be published next year by Ashgate Press. She appeared as a
Distinguished Lecturer at the University of California at Santa Barbara
(2002) and has read papers at the 11th Biennial International Conference
on Baroque Music (Belfast, Northern Ireland, 2010, and Manchester, UK,
2004), and at national meetings of the American Musicological Society in
San Francisco (2011), Philadelphia (2009), Seattle (2004) and Kansas City
(1999). In addition, Dr. Kauffman serves as editor-in-chief of the Journal
of Musicological Research. She has sung with Seicento Baroque Ensemble
since its inception. in appreciation
2014 – 2015 SEASON donors
$1,000 +
Dr. Marjorie Bates &
Dr. Richard Weiss
Linda Lunbeck &
Michael Lightner
Maureen & Harvey
Solomon
$500 - $999
Jannette & Ben Balke
Dr. Michael Clark
James & Charla Kates
Deborah Kauffman &
Jonathan Bellman
Abigail Sperry
Nancy Stevens
Deborah & James Vink
Jacob Vink
Michael & Cornelia
Weitzner
$250 - $499
Nona Dale
Nancy Lillie
Stuart Naegele
Linda & David Otstott
Rebecca Tice
$100 - $249
Anonymous
Dale & Mycki Bussman
Jan Arney & Tom
Cimino
Vici & Warren DeHaan
Diana & Michael
Doyle
Philip Fryer &
Philip Campbell
Mary B. Greenwald
Diana & Robert Hinton
Doug & Michelle
Hofmeister
Tony Lee
Miriam & Tom Lindahl
Elsa & Meredith
McKinney
Linda & Eric Nehls
Olivia & Judd Payne
Sharon &
George Reimer
Marisa Ryan
Mary & Peter Shultz
Stan & Karen Sikorski
Julia Solomon
Anne Starke
Stanley &
Hilde Weitzner
Drs. Paula &
Carl Zielonka
$1 - $99
Donald Bain
Glenna & Jean-Pierre
Briant
Ann B. Cox
Margaret & Morgan
Cundiff
Pete & Joan Dawson
Mary Jarrett & Gary
DuChateau
Liz Eckstein
Susanne Gerson
Gerald W. Holbrook
Kathe & Charlie Lujan
Sarah Mitchell
Stephanie Moore
Jennifer Murphey
Carol Musil & Mike
Naegele
Jori Naegele
Becky Piske & Paul
Pacini
Frances & Richard
Saxon
Helga Schroeder
Glenn Short
Mary & Dan Strizek
Diane Waldman
SEICENTO’S FOUNDERS CIRCLE
We gratefully acknowledge members of our Founders Circle whose donations
from September 2011 through September 2014 total $1,000 or more
Anonymous Jannette & Ben Balke Dr. Marjorie Bates and Dr.
Richard Weiss Jean M. Browne Evanne Browne & Thomas Prugh Dr. S. Michael Clark Kim & Demetri Coupounas Nona C. Dale Donald
Frey Philip Fryer & Philip Campbell Linda Lunbeck & Michael Lightner Stuart Naegele & Family Mary & Tim O’Brien Linda & David Otstott Moe & Karen Sandstead Harvey & Maureen Solomon Abigail Sperry
Rebecca Tice Deborah & James Vink Michael & Cornelia Weitzner
grants Seicento Baroque
Ensemble is deeply appreciative
of the generous support for this
concert season we have received
from Colorado Creative Industries,
the National Endowment for the
Arts, Boulder County Arts Alliance/
Neodata Endowment
Grant Program and the
Hildegard Institute.
COMMUNITY SUPPORT
California Pizza Kitchen FUNdraisers FirstBank of Boulder King Soopers
Neighborhood Rewards Program Great Lakes Scrip Program Liquor Mart
Community Connections Program Safeway Gift Card Program Vehicles
for Charity Vitamin Cottage/Natural Grocers Gift Card Program
We are indebted to many who provide assistance
and advice to Seicento:
Colorado Public Radio and CPR Executive Producer Charley Samson for their
support of local, live classical music performances through Colorado Spotlight Professor Deborah Kauffman for musicological research, pre-concert lectures,
and leading sectionals Jean Browne for ongoing technical assistance and
generous support Michael and Leah Weitzner for creating Seicento’s Facebook
presence—Please Like Us! Lucy Kelly, Mary Jarrett, James Kates, Linda
Lunbeck, Maureen Solomon, Becca Tice and Deborah Vink for assembling and
editing program content The Seicento Board of Directors for endless hours
of planning and hard work, including our founding officers who so successfully
launched Seicento Tambre Rasmussen, our in-house choral fitness coach who
helps us balance, support and relax Devon Howard and Tom Strickland for
harpsichord tuning Family and friends of the Board, Choir and Artistic Director
who have assisted in innumerable ways All of the individuals who contribute
significantly to Seicento by making purchases through a variety of scrip programs Our volunteers assisting with stage managing, box office and ushering.
Sincere thanks to the Reverends Pat Bruns and Joe Agne and First United Methodist
Church of Boulder for supporting Seicento as an FUMC Ensemble in Residence.
Special thanks for the artistic beauty created by: Karen Sperry, graphic arts;
Jean Browne, web site; Peggy Doyle, logo design; and Richard Saxon, Stuff Eye
See Photography, video and ensemble photos.
303-449-2997 • www.mpboulder.com
F a l l 2 0 1 4 s e i c e n t o b a r o q u e e n s e m b l e 1 5 Save the Dates
vivaldi Gloria
Boulder Friday, December 19
Denver Saturday, December 20
appearing with the boulder chamber orchestra
Queen Christina
Founded in 2011, Seicento Baroque Ensemble is a semiprofessional, auditioned chamber choir noted for its
performances of lesser-known music of the 17th and 18th
century using historically-informed performance practices.
With its primary emphasis on music of the baroque period, the
ensemble occupies a unique niche in the Colorado choral music
scene. Audiences experience and learn about inspirational
and intriguing baroque music, usually by western European
composers. Seicento is Ensemble in Residence in First United
Methodist Church of Boulder’s “Arts for the Soul” initiative.
Denver Friday, March 6, 2015
Boulder Saturday, March 7
estes park Sunday, March 8
Raised to be “king” of Sweden during the mid-1600s, flamboyant Christina
left a trail of ambiguous controversy that extended into many aspects of her
life and across numerous countries of Europe. But the music Christina inspired
and commissioned remains a pure testament to the multi-faceted beauty of the
baroque era. With a historical look through a modern lens at Christina’s life and
times, this Seicento concert will entertain audiences on a variety of levels.
Monteverdi’s
Vespers
of
1610
The piece that inspired Seicento’s founding
October 23-25, 2015
Support Seicento
If you value the opportunity to hear unique, live, historically-informed concerts by performers of national stature right here in
Colorado’s Front Range, please consider all the ways you can support Seicento Baroque Ensemble:
• BUY A SHOPPER’S GIFT CARD! through Seicento
for use at the stores you already patronize (King Soopers,
Safeway, Natural Grocers, Liquor Mart) and Seicento will
receive a percentage of your purchase total when you reload
the card. Contact Diana Doyle at [email protected].
• PARTICIPATE! Volunteer to usher for concerts and receive
free admission. Volunteer to assist as needed in other capacities.
Contact Jim Kates at [email protected].
• MAKE A TAX-DEDUCTIBLE DONATION! to Seicento
through our web site: www.seicentobaroque.org or by mailing
a check to P. O. Box 171, Boulder, CO 80306. We welcome
donations of any amount. Seicento is a 501(c)(3) corporation.
• ATTEND! Our next concerts:
December 19 & 20 – VIVALDI’S GLORIA. Concert details and tickets: www.boulderchamberorchestra.org.
March 6, 7, 8 – QUEEN CHRISTINA in Denver,
Boulder and Estes Park. Concert details and tickets: www.seicentobaroque.org.
•ASK YOUR EMPLOYER! to match your donation
to Seicento.
• sponsor a musician! Contact Evanne Browne for
details.
•DONATE A USED VEHICLE! and receive a tax
deduction — it may be more than you expect!
• COMPLETE THE AUDIENCE SURVEY! which
provides valuable programming feedback to Seicento as well as
information needed for completing grant funding applications.
•PATRONIZE! our generous advertisers and mention the ad
they placed in the Seicento program.
www.seicentobaroque.org