The New York Kammermusiker
Ilonna Pederson, Director
The quality of the musicians surpasses the imagination. Their virtuosity surmounts every challenge, of course, but the
beauty of timbre, sensitive interpretation, and perfect balance collectively achieved by the artists are the fruits of a long
and detailed labor.
—Sud-Ouest, Royan, France
Founded in 1969 by Ilonna Pederson, The New York Kammermusiker is a professional doublereed ensemble which has traveled extensively throughout the world. The Kammermusiker is
dedicated to presenting music to as wide ranging an audience as possible. The members of the
group combine a repertoire ranging from the early Renaissance through Contemporary periods
with an informal stage manner inviting the audience to know more about the works performed and
the instruments used. Experimental and folk music, often using special folk instruments acquired
on tours abroad, are a part of the group's repertoire.
The members of the Kammermusiker have been specially trained by the French organization
Jeunesses Musicales de France to bring music to young audiences. In addition to concerts in
dozens of countries on five continents, the ensemble frequently gives masterclasses and seminars
on its tours.
BIOGRAPHY OF INSTRUMENTS
Double reed instruments have a long history, dating back several thousand years. Representatives
of the double-reed family come from all over the world, and have been found in numerous ancient
archaeological sites. With increased world travel starting with Marco Polo's journeys, the doublereed came to western Europe. The similarity in names of simple double-reed instruments (Chinese
Suono, Indian Shenai, European Shawm) suggests a common heritage.
Double-reed bands, as has been well documented in writings and in pictures, were a familiar sight
in Renaissance towns. Shawms, crumhorns and racketts came in all sizes, from descant to great
bass. In addition to being used by members of a town's watch (the loud noise of the shawms was
ideal for sounding an alarm), several complete families of instruments have been found in church
collections, leading to the assumption that the they were used to accompany religious services.
The golden age of the shawm coincided with the Golden Age of Venetian composition in the early
17th century, and works of this time are ideally suited to the range and character of double-reed
instruments, as are the works of the 17th century German masters such as Hassler, Erbach, Scheidt
and Pretorius. In the Baroque age, many composers such as J.S. Bach in the Christmas Oratorio
and other works, and Handel (himself an oboist) wrote for double-reed band. Composers,
including Mozart and Beethoven, wrote for the ensemble throughout the Classical period.
During the Romantic period, the double-reed band dropped into oblivion, to be revived by the
efforts of the musicologist Josef Marx of New York, oboists Hans Hadamowsky and Jurg
Schaeftlein of Vienna, and Ilonna Pederson, director of The New York Kammermusiker.
A rare and valuable musical experience full of vitality and enchantment. Absolutely delightful.
—Daily Clarin, Buenos Aires, Argentina
The New York Kammermusiker is incorporated as a not-for-profit organization. Contributions are tax-exempt.
736 West End Avenue, Suite 9B
New York, NY 10025
Phone/Fax (212) 749-2207
E-Mail: [email protected]
The New York Kammermusiker
Ilonna Pederson, Director
In Renaissance times, the shawm band was a familiar sight throughout Europe. The ensemble was
common throughout the Baroque and into the Classical periods, after which little was heard until recently.
The New York Kammermusiker has revived the concept of the Renaissance shawm band.
Founded in 1969 by Ilonna Pederson, the ensemble has toured throughout the world. The group's
repertoire includes music from the early Renaissance through Contemporary periods, including several
works composed for the Kammermusiker. Experimental and improvisatory music also comprise an
important part of the Kammermusiker's repertoire.
In South America, in addition to the usual circuit, the Kammermusiker has performed in such diverse
towns as Manaus, Brazil (with its huge 19th century opera house in the middle of the Amazon rainforest);
Cuenca, Ecuador (where the musicians were caught in a riot); Rosario, Argentina; Paysandu, Uruguay;
Jonestown, Guyana and dozens of other small and large towns. The ensemble will return to several
countries in South America this winter.
On their Australian tour, the musicians traveled from Spain to New York, New York to Honolulu,
Honolulu to Sydney, and Sydney to Perth (almost two days' worth of travel) and then gave a broadcast
concert half an hour after they arrived. A highpoint of this trip was selling out the Sydney Opera House
three nights in a row. In Taiwan, the group joined members of a Buddhist temple for an impromptu New
Year's ceremony, complete with firecrackers, cymbals, swords, and yes, oboes. (The Chinese were a bit
confused upon hearing that we considered music from the Renaissance old. Many of their works date
back thousands of years.) A joint concert with the faculty of the Tianjin Conservatory featured an
impromptu duo rendition of "Amazing Grace" on oboe and Ba-wu, as well as three foot long bats
buzzing the audience. A concert in Bejing was televised repeatedly throughout China.
The Kammermusiker is no stranger to giving concerts in unusual places. The group has played in the
highest concert hall in the world (La Paz, Bolivia at over 12,000 feet), the lowest (Lanzarote, Canary
Islands - in the cone of a volcano) and in climates from desert to tropical rainforest. Since 1969 the
Kammermusiker has made annual tours throughout the U.S. and Europe, nine to South America, two to
the Far East and to Australia and New Zealand.
A Renaissance Tour of Europe, the Kammermusiker's first digitally recorded compact disc,
has been a great success. Featuring 74 minutes of music from the late 15th through early 17th centuries,
the disc has won critical acclaim throughout the world. Including royal ceremonial music, canzons,
madrigals, dance music and more, the disc has been a best seller since its release.
...Such a beautiful blend of timbres, such warmth in the tone, such smoothness to the lines....The musicians...are
masters both of their respective double reeds and of ensemble playing. The breath control is superhuman; intonation is dead
on. ...there's a lot of music here_a lot of good, beautifully performed music.
—David Vernier, CD Review Magazine
A Baroque Celebration continues where A Renaissance Tour of Europe left off. The
members of the Kammermusiker are joined by harpsichord and percussion for this disc, featuring music
by Bach, Jenkins, Lully, Purcell, and a suite from Handel's Watermusic.
...This is most enjoyable...Their performances here are distinguished by flawless technique and ensemble, allied to a
surprisingly wide range of sonority. The recording is superb... Strongly recommended.
—Brian Robbins, CD Review Magazine (UK)
736 West End Avenue, Suite 9B
New York, NY 10025
Phone/Fax (212) 749-2207
E-Mail: [email protected]
The New York Kammermusiker
Ilonna Pederson, Director
– Classical Music for Modern Times –
The New York Kammermusiker (NYK) is a professional double reed ensemble
attracting international attention for its unique ability to use modern instruments in a
mainstream revival of Renaissance and Baroque music. The NYK, based in New York City,
is broadening the public’s exposure to classical music around the world—from South
America to Asia, from senior citizen homes to concert halls. Although the venues differ
widely, one thing remains the same: the ensemble’s ability to delight and inspire the
audience.
The NYK has released two critically acclaimed compact discs. “A Renaissance Tour of
Europe” features 74 minutes of digitally recorded music from the late 15th through early 17th
centuries. It includes royal ceremonial music, canzons, madrigals, dance music, and more.
“Such a beautiful blend of timbres, such warmth in tone, such smoothness to the lines…The
musicians…are masters of both their respective double reeds and of ensemble playing,” said
CD Review Magazine.”
“A Baroque Celebration” continues where the Renaissance Tour of Europe ended. The
members of the NYK are joined by harpsichord and percussion for this album. Featured are
the works of Bach, Jenkins, Lully, Purcell, and a suite from Handel’s Watermusic. “Their
performances here are distinguished by flawless technique and ensemble, allied to a
surprisingly wide range of sonority,” said CD Review (UK) Magazine.
Three things make the NYK special:
THE NYK AS URBAN ESCAPE ARTIST. The sounds of the NYK lift the spirits of
audiences. The ensemble’s unique repertoire ranges from the early Renaissance through
Contemporary periods, including many American works as well as experimental and
improvisatory music.
THE NYK AS MUSICAL AMBASSADOR. The NYK travels around the world, serving
as an unofficial ambassador of ensemble music and Western musical culture. The group has
toured Europe, Asia, and South America. On its Australian tour, the NYK sold out the
Sydney Opera House three nights in a row.
The NYK as Educator. Members have been specially trained by the French
organization Jeunesses Musicales de France to bring music to young audiences. The ensemble
frequently gives masterclasses and seminars on its tours.
Upcoming plans include tours of the U.S., Europe and Central America. The
ensemble was founded in 1969 by Ilonna Pederson.
736 West End Avenue, Suite 9B
New York, NY 10025
Phone/Fax (212) 749-2207
E-Mail: [email protected]
The New York Kammermusiker
Ilonna Pederson, Director
THE NEW YORK KAMMERMUSIKER has performed throughout the United
States and...............
MEXICO - Mexico City; PANAMA; DOMINICAN REPUBLIC - Santo
Domingo, Santiago; TRINIDAD AND TOBAGO; COLOMBIA - Barranquilla,
Bogota, Medellin, Cartagena, Bocamonga; ECUADOR - Guayaquil, Quito, Cuenca,
Loja; PERU - Lima, Cuzco; BOLIVIA - La Paz; PARAGUAY - Asuncion;
URUGUAY - Montevideo, Paysandu; ARGENTINA - Buenos Aires, Rosario;
BRAZIL - Rio de Janeiro, Sao Paulo, Brasilia, Bahia, Belem, Manau; VENEZUELA
- Caracas; GUYANA - Georgetown
AUSTRALIA - Adelaide, Brisban, Newcastle, Canberra, Nedlands, Melbourne,
Sydney, Perth; NEW ZEALAND - Christ Church, Auckland, Wellington, Dunedin;
CHINA - Shanghai, Beijing, Tianjin; TAIWAN - Taipei, Taichung, Kaoshung,
Tainan, Taoyuan, Keelung
NORWAY - Oslo, Bergen; FRANCE - Paris, Bordeaux, La Rochelle, Tours,
Orleans, Besançon, Rochefort, Chateaudun, Chateauroux, Angouleme, Poitiers,
Issoudun, Bourg, Brioude, Niort, Royan, Le Blanc, Issoire, Bourges, Bordeaux,
Annemasse, La Tour, Le Puy, Lyon, Dijon, Cluny, Bourgoin, Marseilles, Langogne,
Perigueux, Brive, Vichy; SPAIN - Barcelona, Madrid, Seville, Toledo, Canary Islands;
PORTUGAL - Lisbon, Braga, Aveiro, Coimbra, Leira, Setubal, Estoril, Funchal,
Oporto, Madeira; LUXEMBOURG - Diekirch, Luxembourg, Bourglinster;
BELGIUM - Alden Biesen, Brussels; HOLLAND – Amsterdam, Arnhem, Haarlem,
Hilversum, Tilburg; DENMARK Arhus, Alborg; FINLAND - Helsinki, Jyvaskyla;
GERMANY -Frankfurt, Aachen, Cologne, Munich, Ottobeuren, Berlin, Stuttgart,
Hamburg, Mannheim, Scheidegg, Dresden, Leipzig, Halle, Eisenach, Quedlinberg,
Rostock, Meissen, Erfurt, Wittenburg; AUSTRIA - Salzburg, Bregenz, Vienna, Linz,
Horn, Millstatt, Saalfelden, Ossiach, Zell am See, Attersee, St. Georgen;
SWITZERLAND - Zurich, Bern, Lucerne; SWEDEN - Stockholm; ITALY Milan, Rome, Naples, Venice; YUGOSLAVIA - Belgrade, Ohrid, Vrnacka Banja,
Novisad, Arangelovac; CZECH REPUBLIC – Prague; SLOVAKIA – Bratislava;
SLOVENIA - Ljubljana
TELEVISION: New York, France, Germany, Austria, Holland, China, Taiwan,
Argentina, Brazil, Colombia, Dominican Republic Ecuador; RADIO: Oslo Radio,
Norway; Munich, Stuttgart, DDR, and Frankfurt Radios, Germany; NOS Radio,
Holand; Radio France; Beijing Radio, China, WNYC, WQXR, WNCN, New York
736 West End Avenue, Suite 9B
New York, NY 10025
Phone/Fax (212) 749-2207
E-Mail: [email protected]
The New York Kammermusiker
Ilonna Pederson, Director
The pure sound of their oboes and the precision with which they commenced a passage
so that it sounded as one voice is, indeed, a mark of high musicianship, and a great
pleasure to hear.
—Dumbarton Oaks, Friends of Music, Washington, DC
A rare and valuable musical experience, full of vitality and
enchantment. Absolutely delightful.
—Daily Clarin, Buenos Aires, Argentina
The New York Kammermusiker: an ensemble whose playing is perfect, the sound is
beautiful, articulation and rhythm are taken care of in finest detail, and the whose
sounds exceptionally pure, which is no small achievement.
—New Nieuwsblad Van Het Zuiden, Tilburg, Holland
The New York Kammermusiker caught our interest not only with
their excellent programming, but also through the perfect mastery
of each part and their perfect intonation and phrasing, which
allowed each work to reveal its natural brilliance.
—Hudobny Zivot, Bratislava Festival, Slovakia
The Kammermusiker performed superbly throughout their programme, playing with
keen sensitivity, a fine sense of balance and a sure sense of ensemble.
—The Star, Music Federation of New Zealand, Christchurch, New Zealand
The quality of the musicians surpasses the imagination. Their
virtuosity surmounts every challenge, of course, but the beauty of
timbre, sensitive interpretation, and perfect balance collectively
achieved by the artists are the fruits of a long and detailed labor.
—Sud-Ouest, Royan, France
Throughout the evening The New York Kammermusiker displayed extraordinary
musicianship—the result of their excellent sense of ensemble and the technical
perfection demonstrated by every member of the group.
—Politika, Belgrade Festival, Yugoslavia
The members of the New York Kammermusiker, as well as all being
accomplished soloists, are a splendidly coordinated team, and
their ensemble work was excellent.
—The Times, Musica Viva Concert, Canberra, Australia
The New York Kammermusiker is a group whose technical brilliance and magnificent
ensemble playing are perfectly suited to present the oboe and its related instruments
as splendid solo instruments outside the orchestra.
—Volkszeitung, Carinthian Summer Festival, Ossiach, Austria
736 West End Avenue, Suite 9B
New York, NY 10025
Phone/Fax (212) 749-2207
E-Mail: [email protected]