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The Early Music Revival and the Arts and Crafts Movement
Celebrate the closing day of our exhibition John Lockwood Kipling: Arts & Crafts in the Punjab and London with a selection of music popular in the period. Join Abendmusik, New York’s Early Music String Band at 3.30 pm for a showcase of rarely performed musical gems.
The Age of the Industrial Revolution, is defined as a time in which society looked toward the future and rejected the past. At the same time, the Arts & Crafts movement rejected the artistic endeavors of the new age and looked toward the past for creative inspiration. The leaders of this movement, including William Morris and Edward Burne-Jones, encouraged Arnold Dolmetsch to pursue his interest in reviving instruments and repertoire from the 17th century. Dolmetsch’s connection to the British Library lent him access to extant music manuscripts, including those attributed to Henry VIII as well as John Jenkins and William Lawes, the latter two considered great masters of English consort repertoire. Dolmetsch was so revered in his efforts that he moved Ezra Pound to exclaim in his Canto LXXXI, “Lawes and Jenkyns guard thy rest, Dolmetsch ever be thy guest.”
Abendmusik, New York’s Early Music String Band, showcases the rarely-performed repertoire of the late 16th and 17th centuries composed for string consort. The string band explores music from both western and eastern Europe (Italy, the Hapsburg Empire of Austria and Spain, Kroměřiž in Moravia, Poland, Holland, England, Denmark and France) on period instruments.
Program
I.
Fantasia No. 2 in 6 parts
William Byrd
(1539?
– 1623)
II.Pavan
for 6 viols
John Jenkins
(1592-1678)
III.Fantasia
4# for 6 viols
J. Jenkins
III.
In Nomine no.1 for 6 viols
J.
Jenkins
IV.
Pavan from Sette 3 for 5 viols
William Lawes
(1602-1645)
V. Consort Sette No. 6 for 6 viols
W. Lawes
Pavan
Fantazy
Aire
Judson Griffin (violin) is a graduate of the Eastman School of Music and earned
Master’s and Doctorate degrees at The Juilliard School. Coming to period
instruments in 1979 through the influence of harpsichordist Albert Fuller, in
the 1980s he played with Aston Magna, the Mozartean Players, the Boston Early
Music Festival Orchestra, and the Smithsonian Chamber Players and Chamber
Orchestra. He was a founding member of the Smithson Quartet, in residence at
and using instruments from the collections of the Smithsonian Institution,
making ground-breaking recordings of quartets of Haydn, Mozart, and Beethoven.
He was Music Director of the Connecticut Early Music Festival from 2000 to
2007, conducting music from Gabrieli through operas of Vivaldi and Mozart,
researching and creating new editions, writing program notes, and providing
translations from Latin, Italian, French, and German. He has been a frequent
performer in Europe and in the US as concertmaster, soloist, and conductor,
appearing with groups like Amor Artis, the American Classical Orchestra,
Concert Royal, Florida Pro Musica, and Baltimore Pro Musica Rara. Mr. Griffin
led period-instrument orchestras for dance performances at the Maggio
musicale in Florence, in opera at Musica nel chiostro near
Grosseto, Italy, and led the Lobkowitz Quartet in performances of Haydn’s Seven
Last Words in Germany. He has toured with the English Concert and Trevor
Pinnock; played with the Akademie der alten Musik in Berlin;
with Il complesso barocco in Innsbruck, Milan, and Venice; and has
been a soloist at the Festival de Clisson, France. Solo recitals have been
given in Boston, Detroit, Washington, DC, in New York at Weill Recital Hall and
Merkin Hall, and in Alaska.
Małgorzata Ziemnicka (violin), received education in violin, piano, and chamber music at the Wieniawski Music Lyceum in her native Lodz, Poland. She toured Europe with the Lyceum’s chamber choir, winning major prizes at competitions in Spain and Italy. While studying violin and sound recording at the Chopin Music Academy in Warsaw she became interested in baroque violin. After immigrating to the United States Ms. Ziemnicka continued her studies at DePaul University in Chicago and at McGill University in Montreal. As a member of the Chicago Civic Orchestra she performed under Sir Georg Solti, Daniel Barenboim, and Pierre Boulez. Since moving to New York Ms. Ziemnicka has been performing baroque and classical music on period instruments with REBEL, Concert Royal, Early Music New York, Trinity Baroque Orchestra, Sinfonia New York, Gotham Chamber Opera, at Museum Concerts in Providence, and has made numerous recordings on modern and baroque violin. She appears regularly at Lincoln Center with the American Classical Orchestra, and has performed at the Kennedy Center and the Washington National Cathedral, and with the Rhode Island Philharmonic. Ms. Ziemnicka is a member of the recently formed New York Classical Quartet. She is a great fan of jazz and popular music of the 1920s.
Patricia Ann Neely (viola da gamba) has appeared with many early music ensembles including, the Folger Consort, Smithsonian Chamber Players, the New York Collegium, the Washington Bach Consort, Amor Artis, ARTEK, Glimmerglass Opera, New York City Opera, the Boston Camerata, Boston Early Music Festival Orchestra, The Newberry Consort, Bach Vespers at Holy Trinity, The New York Consort of Viols, and Early Music New York, among others, and was a founding member of the viol consort Parthenia. She spent three years touring with the acclaimed European-based medieval ensemble, Sequentia on the medieval fiddle performing throughout Europe and North America, at festivals including, Oude Muziek - Utrecht, Bach Tage – Berlin, Alte Musik – Herne, Wratislavia Cantans - Poland, Music Before 1800, and The Vancouver Early Music Festival. Ms. Neely began playing the viol at Vassar College and continued her studies, earning an MFA in Historical Performance at Sarah Lawrence College, with additional studies in Belgium with Wieland Kuijken. She has recorded for Arabesque, Allegro, Musical Heritage, Deutsche Harmonia Mundi,Ex Cathedra, Classic Masters, Erato, Lyrichord, and Music Masters labels. Ms. Neely has been a member of the faculty at the Amherst Early Music Summer Festival, the Viola da Gamba Society of America Conclaves, Viola da Gamba Society of both New England and New York workshops, Pinewoods Early Music Workshop and is currently on the faculty of The Brearley School where she teaches recorder, double bass and coaches an early string repertoire ensemble. Ms. Neely was the Executive Director of the Connecticut Early Music Society and Festival from 2012 until 2015.
Carlene Stober (viola da gamba) is a member of Empire Viols, The Grenser Trio and performs with Bach Vespers at Holy Trinity. In addition to performing with many ensembles, she has appeared on Prairie Home Companion, performed with the Utah Shakespearean Festival and was featured musician in Theatre for a New Audience’s production of Pericles at the Brooklyn Academy of Music. On modern cello, she served as principal cellist of the Tucson Symphony Orchestra and performed throughout the U.S. as a member of the Delphi String Quartet.
Lawrence Lipnik (viola da gamba) performs with many acclaimed early music ensembles from ARTEK and Anonymous 4 to Piffaro and the Waverly Consort, and is a founding member of the viol consort Parthenia and vocal ensemble Lionheart. He was continuo gambist and recorder player for a new production of Monteverdi’s Ritorno d’Ulisse in Patria at Wolf Trap, and gamba and recorder soloist in Telemann’s Orpheus with the New York City Opera. In addition to performing, he prepared a performing edition of Francesco Cavalli’s opera La Calisto, which was commissioned by The Juilliard School and performed by the San Francisco Opera, is music editor for an upcoming authoritative edition of the original songs from the plays of William Shakespeare, and is a contributor to the Cambridge Companion to Shakespeare and Contemporary Dramatists. He has recorded for numerous labels including EMI, Angel, Nimbus, Virgin, Sony, Koch International and Cantaloupe, and has been a frequent musical collaborator with artist William Wegman.
Guest Artist
Adam Young identifies as a baroque and modern cellist, violist da gamba, ballet dancer, accompanist, and pianist . His earned a Bachelor’s degree from the San Francisco Conservatory of Music in modern cello with an emphasis in baroque performance practice studying with Jennifer Culp, Elisabeth Reed, and Corey Jamason. Adam is co-founder of Cello Street Quartet, which under a federal-State Department Grant allowed the ensemble to perform and teach throughout Eastern Europe. Adam has performed at festivals such as the Oregon Bach Festival, Early Music Vancouver, the Viola da Gamba Society of America Conclave, and American Bach Soloists. He received honorary mention in the 2017 San Francisco Conservatory of Music Marathon Composition Competition. Adam’s mission is to seek a factual basis for artistic decision with special interest in historical performance practice. He is currently a master’s degree candidate at The Juilliard School where he studies viola da gamba with Sarah Cunningham in the Historical Performance program.
