NEW YORK BAROQUE INCORPORATED

NEW YORK BAROQUE INCORPORATED

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Hailed as “truly excellent” and “studded with stars in the making” (New York Times), New York Baroque Incorporated (NYBI) is a conductorless orchestra of period instruments in New York City, bringing vital, informed, and fresh performances of a wide range of 17th and 18th-century repertoire, as well as creating a vibrant landscape for collaborations between historical performance and living composers. NYBI has collaborated with renowned soloists including Richard Egarr, Vivica Genaux, Monica Huggett, and has performed at Carnegie Hall, the Metropolitan Museum of Art, and Spoleto Festival USA. Striving to make period instruments a living art form, NYBI has premiered works by Nico Muhly, Hollis Taylor, and Huang Ruo. The orchestra also dedicates itself to bring to life unknown works of the Baroque, and has revived and presented modern-day premieres of Cavalli’s Veremonda (1652), Aliotti’s Santa Rosalia (1687) and Seckendorff’s Proserpina (1777).

The 2018-19 season will see NYBI launching a new 4-part series at Trinity’s St. Paul’s Chapel. Named Alchemy, each program is based on a classical element: water, air, earth, and fire. The orchestra returns to Saint Thomas Church for 3 concerts: the annual holiday tradition of Handel’s Messiah, as well Bach’s St. John Passion and an instrumental-only program of Vivaldi’s Spring, Handel’s organ concerto in B flat, and Brandenburg Concerto No. 5. NYBI is also making an exciting debut in its 7th season: at Carnegie as a part of Early Music in Weill Recital Hall with countertenor Jakub Józef Orliński.

Beth Beauchamp

Having worked as a professional musician, a music-educator, and the Executive Director of a number of non-profit arts organizations, Beth has over 10 years of experience in catering to the unique needs of artists. Beth believes that the talent, education, and skill-sets of her clients have inherent worth. As a passionate artist advocate, she aims to help her artists improve the quality of their own lives by encouraging them to honor the value of their own work, and by creating materials which allow them to champion their art with confidence. Equally interested in building community, Beth aims to create a roster of artists who are excited to support and collaborate together. 

Ensemble Caprice

Ensemble Caprice

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Ensemble Caprice, a baroque ensemble which performs on period instruments, was founded by acclaimed conductor, composer and recorder soloist Matthias Maute and has become known for its innovative and adventuresome approach to an increasingly expanding musical repertoire. In addition to its series of concerts in Montreal, the group tours extensively, giving dozens of concerts in Quebec, Canada, the USA, Europe, and even Asia. The ensemble has been invited to perform in prestigious festivals, including the Lufthansa Festival in London, festivals in Bruges (Belgium) and Utrecht (Netherlands), the Felicia Blumental International Festival in Tel Aviv, and, in Germany, the Musikfestspiele Potsdam Sanssouci, the Regensburg early music festival, the Festival Hãndel-Festspiele in Halle and the Stockstadt Festival.

In November of 2009, the New York Times published a lengthy article hailing the musicians’ innovative and refreshing approach, praising them as “imaginative, even powerful; and the playing is top-flight”.

The Ensemble’s recording activity is every bit as impressive, comprising over twenty CD’s on the Analekta label. These recordings have gleaned many honours and much critical acclaim, including a 2009 JUNO award and four PRIX OPUS awards. The Ensemble’s artistic merit and the quality of its work were recognised once again when the group was chosen as a finalist in the music category for the Grand Prix de Montréal and voted “public’s choice.” In addition, Caprice was nominated for the Prix Echo Klassik in Germany and received a glowing recommendation from the prestigious magazine Gramophone.

Caprice has also gained a solid reputation for its videos on the Mécénat Musica noncerto classical music channel.

During the past two years, Ensemble Caprice has given over 100 concerts in 5 countries on 3 continents, and has performed in 11 festivals. In the spring of 2017, Caprice has embarked upon its first Latin American tour and made its 3rd trip to China. In the summer of 2018 went on its first African tour.

Beth Beauchamp

Having worked as a professional musician, a music-educator, and the Executive Director of a number of non-profit arts organizations, Beth has over 10 years of experience in catering to the unique needs of artists. Beth believes that the talent, education, and skill-sets of her clients have inherent worth. As a passionate artist advocate, she aims to help her artists improve the quality of their own lives by encouraging them to honor the value of their own work, and by creating materials which allow them to champion their art with confidence. Equally interested in building community, Beth aims to create a roster of artists who are excited to support and collaborate together. 

QUICKSILVER

QUICKSILVER

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Quicksilver brings together leading historically-informed performers in North America today. Led by violinists Robert Mealy and Julie Andrijeski, this ensemble explores the rich chamber music repertoire of the early modern period to the High Baroque. The ensemble has been featured at numerous music series and prestigious festivals, met with critical acclaim and repeat invitations. Quicksilver's debut recording, 'Stile Moderno: new music of the seventeenth century' was described by Early Music (Oxford Journal) as "convincing...terrific," by Fanfare Magazine as "technically expert, flexible in phrasing, and stylish in ornamentation, fully aware of this music's rich sense of theatre," and by Huffington Post as "Breakthrough Album of the Year."

Beth Beauchamp

Having worked as a professional musician, a music-educator, and the Executive Director of a number of non-profit arts organizations, Beth has over 10 years of experience in catering to the unique needs of artists. Beth believes that the talent, education, and skill-sets of her clients have inherent worth. As a passionate artist advocate, she aims to help her artists improve the quality of their own lives by encouraging them to honor the value of their own work, and by creating materials which allow them to champion their art with confidence. Equally interested in building community, Beth aims to create a roster of artists who are excited to support and collaborate together. 

BLUE HERON

BLUE HERON

Blue Heron has been acclaimed by The Boston Globe as “one of the Boston music community’s indispensables” and hailed by Alex Ross in The New Yorker for its “expressive intensity.” Committed to vivid live performance informed by the study of original source materials and historical performance practices, the ensemble ranges over a wide repertoire from plainchant to new music, with particular specialities in 15th-century Franco-Flemish polyphony and early 16th-century English sacred music.

Founded in 1999, Blue Heron presents a concert series in Cambridge, Massachusetts, and has appeared at the Boston Early Music Festival; in New York City at Music Before 1800, The Cloisters (Metropolitan Museum of Art), and the 92nd Street Y; at the Library of Congress, the National Gallery of Art, and Dumbarton Oaks in Washington, D.C.; at the Berkeley Early Music Festival; at Yale University; and in Chicago, Cleveland, Kansas City, Milwaukee, Pittsburgh, Philadelphia, Providence, St. Louis, San Luis Obispo, and Seattle. The ensemble has performed in Cambridge and London, England, and in 2018-19 will make Canadian debuts in Montreal (September) and Vancouver (March). Blue Heron has been in residence at the Center for Early Music Studies at Boston University and at Boston College, and has enjoyed collaborations with A Far Cry, Dark Horse Consort, Les Délices, Parthenia, Piffaro, and Ensemble Plus Ultra. In 2015 the ensemble embarked on Ockeghem@600, a multi-season project to perform the complete works of Johannes Ockeghem (c. 1420-1497) and record all of his songs and motets. Volume I of the songs will be released in the spring of 2019. The project will wind up around 2021, in time to commemorate the composer’s circa-600th birthday.

Blue Heron’s first CD, featuring music by Guillaume Du Fay, was released in 2007. Between 2010 and 2017 the ensemble issued a 5-CD series of Music from the Peterhouse Partbooks, including many world premiere recordings of works copied c. 1540 for Canterbury Cathedral. The fifth CD was awarded the 2018 Gramophone Classical Music Award for Early Music and the five discs are now available as a boxed set entitled The Lost Music of Canterbury. Blue Heron’s recordings also include a CD of plainchant and polyphony to accompany Thomas Forrest Kelly’s book Capturing Music: The Story of Notation and the live recording Christmas in Medieval England. Jessie Ann Owens (UC Davis) and Blue Heron won the 2015 Noah Greenberg Award from the American Musicological Society to support a world premiere recording of Cipriano de Rore’s I madrigali a cinque voci (1542), to be released in fall 2019.



Beth Beauchamp

Having worked as a professional musician, a music-educator, and the Executive Director of a number of non-profit arts organizations, Beth has over 10 years of experience in catering to the unique needs of artists. Beth believes that the talent, education, and skill-sets of her clients have inherent worth. As a passionate artist advocate, she aims to help her artists improve the quality of their own lives by encouraging them to honor the value of their own work, and by creating materials which allow them to champion their art with confidence. Equally interested in building community, Beth aims to create a roster of artists who are excited to support and collaborate together. 

DARK HORSE CONSORT

DARK HORSE CONSORT

 

The early music ensemble Dark Horse Consort is dedicated to unearthing the majestic late Renaissance and early Baroque repertoire for brass instruments. Inspired by the bronze horse statues in Venice’s famed St. Mark’s Basilica, the ensemble attempts to recreate the glorious sounds of composers such as Giovanni Gabrieli, Claudio Monteverdi and Heinrich Schütz. Dark Horse often expands to include vocalists and strings, which when combined recreates the rapturous kaleidoscope that was the sound of the early 17th century instrumental ensemble.

Dark Horse Consort has been featured on the San Francisco Early Music Series, the Boston Early Music Festival, the Renaissance and Baroque Society (Pittsburgh), in addition to multiple appearances throughout North America with vocal and instrumental groups such as The Toronto Consort, Blue Heron Choir (Boston), The Rose Ensemble (Minneapolis), Piffaro (Philadelphia), Tenet (NYC), Bach Collegium San Diego, Bach Vespers at Holy Trinity Lutheran (NYC), and the Clarion Music Society (NYC).

Beth Beauchamp

Having worked as a professional musician, a music-educator, and the Executive Director of a number of non-profit arts organizations, Beth has over 10 years of experience in catering to the unique needs of artists. Beth believes that the talent, education, and skill-sets of her clients have inherent worth. As a passionate artist advocate, she aims to help her artists improve the quality of their own lives by encouraging them to honor the value of their own work, and by creating materials which allow them to champion their art with confidence. Equally interested in building community, Beth aims to create a roster of artists who are excited to support and collaborate together. 

THE SEBASTIANS

THE SEBASTIANS

The Sebastians (www.sebastians.org) are a dynamic and vital musical ensemble specializing in music of the baroque and classical eras. Lauded as “everywhere sharp-edged and engaging” (The New York Times), the Sebastians have also been praised for their “well-thought-out articulation and phrasing” (Early Music Review) and “elegant string playing… immaculate in tuning and balance” (Early Music Today). I Care If You Listen praised the ensemble’s “beautifully-nuanced playing and thoughtful expressivity” in their début album, calling the recording a “technical and timbral tour-de-force.” This season features Venetian and Roman trio sonatas and concerti grossi; Bach’s six sonatas for violin and obbligato harpsichord and sonatas for violin and continuo; and, in collaboration with TENET Vocal Artists, Bach’s St. Matthew Passion and Handel’s Messiah, in intimate, unconducted performances. The Sebastians are currently in residence at the Yale Collection of Musical Instruments.

INSTRUMENTALISTS

Flute
David Ross, Andrea LeBlanc, Immanuel Davis, Mili Chang
Oboe
Gonzalo X. Ruiz, Meg Owens, Kristin Olson, Caroline Giassi, Julie Brye
Trumpet
John Thiessen, Steven Marquandt
Timpani
Mike Compitello
Violin
Alana Youssefian, Edson Scheid, Beth Wenstrom, Augusta McKay Lodge, Francis Liu, Daniel S. Lee, Katie Hyun, Chloe Fedor, Nicholas DiEugenio, Karen Dekker, Tatiana Daubek, Dongmyung Ahn, ,
Viola
Jessica Troy, Lisa Rautenberg, Scot Moore, Stephen Goist,
Cello
Ezra Seltzer, Shirley Hunt, Hannah Collins
Viola da gamba
Shirley Hunt
Contrabass
Wen Yang, Nathaniel Chase
Organ
Jeffrey Grossman



Beth Beauchamp

Having worked as a professional musician, a music-educator, and the Executive Director of a number of non-profit arts organizations, Beth has over 10 years of experience in catering to the unique needs of artists. Beth believes that the talent, education, and skill-sets of her clients have inherent worth. As a passionate artist advocate, she aims to help her artists improve the quality of their own lives by encouraging them to honor the value of their own work, and by creating materials which allow them to champion their art with confidence. Equally interested in building community, Beth aims to create a roster of artists who are excited to support and collaborate together.