West End Christian Reformed Church | 10015 149 Street NW Edmonton, AB
The "Scotch Humor" has enchanted music lovers for hundreds of years. The Baltimore Consort explores music of Scotland from 400 years ago while also tracing the thread of traditional Scottish Song which followed the migrations of Scottish farmers and artisans to the New World.
Early Scottish music is a magical array of the courtly and native folk arts. The court itself absorbed the most enchanting and rarified styles from its neighbors to the South—the English, French, Netherlandish, and Italian, and long after the court of James VI of Scotland had moved to England in 1603, the Scots who remained in the north self-consciously preserved their musical heritage, while the English imported Scottish tunes and began to write new music in “the Scotch humour.” Our program explores the secular music, both courtly and native, of sixteenth- and seventeenth-century Scotland, plus a folk melody which traveled to the new world, and a Scottish translation of the Lord’s Prayer in a courtly French musical setting.
Founded in 1980 to perform the instrumental music of Shakespeare’s time, the Baltimore Consort has explored early English, Scottish, and French popular music, focusing on the relationship between folk and art song and dance. Their interest in early music of English/Scottish heritage has also led them to delve into the rich trove of traditional music preserved in North America. Recordings on the Dorian label have earned them recognition as Top Classical-Crossover Artist of the Year (Billboard), as well as rave reviews elsewhere. Besides touring in the U.S. and abroad, they often perform on such syndicated radio broadcasts as St. Paul Sunday, Performance Today, Harmonia and the CBC’s OnStage.
Mary Anne Ballard* researches many of the Consort’s programs. She also plays with Galileo’s Daughters, Mr. Jefferson’s Musicians, the Oberlin Consort of Viols, and Fleur de Lys. Formerly, she directed or coached early music at the Peabody Conservatory, Princeton University, and the University of Pennsylvania, where she founded the Collegium Musicum and produced medieval music drama. She is now on the faculty of Oberlin’s summer Baroque Performance Institute. A resident of Indiana and New York City, she music-directed the Play of Daniel for 75th Anniversary of the opening of The Cloisters Museum in New York and at Trinity Wall Street Church in New York.
Mark Cudek is Director of the Early Music program at the Peabody Conservatory, and also Artistic Director of the Indianapolis Early Music Festival. In recognition of his work as Founder/Director of the Peabody Renaissance Ensemble and also the High School Early Music Program at the Interlochen Arts Camp, Mark received from Early Music America the 2001 Thomas Binkley Award and the 2005 Award for Outstanding Contribution to Early Music Education. He has regularly performed with Apollo’s Fire, The Catacoustic Consort, and Hesperus, and, in his youth, worked as a café guitarist in the Virgin Islands. Mark is the 2014 recipient of the Johns Hopkins University Alumni Association’s Global Achievement Award.
Larry Lipkis is Composer-in-Residence and Director of Early Music at Moravian College in Bethlehem, Pa. He has also served as Director of Early Music Week at Pinewoods, and is a longtime music director for the Pennsylvania Shakespeare Festival. His cello concerto, Scaramouche, appears on the Koch label, and his bass trombone concerto, Harlequin, was premiered by the Los Angeles Philharmonic to rave reviews. The trilogy was completed when his bassoon concerto, Pierrot, was performed by the Houston Symphony. Larry is on the Board of Managers of the Bach Choir of Bethlehem, and often lectures on the topic of Bach and Rhetoric. He has served as a faculty member at the NEH Bach Summer Scholar Institute in Leipzig in July 2012 and 2014.
Ronn McFarlane has released over 35 CDs on Dorian and Sono Luminus, including solo collections, lute songs, lute duets, music for flute & lute, Elizabethan lute music and poetry, the complete lute music of Vivaldi, and Baltimore Consort albums. In the tradition of the lutenist/composers of past centuries, Ronn has composed new music for the lute. These original compositions are the focus of his solo CD, Indigo Road, which received a Grammy Award Nomination in 2009. Other recent CD releases, One Morning, and Harvest Moon, feature “Ayreheart,” a new ensemble brought together to perform Ronn’s music. Nine Notes that Shook the World highlights duets with Mindy Rosenfeld, flute, harp, and bagpipe.
Mindy Rosenfeld, a founding member of the Baltimore Consort whose playing graced our first decade, is also a long-time member of San Francisco’s Philharmonia Baroque Orchestra. Fluent in a wide range of musical styles, she plays both wooden and modern flutes in addition to recorders, whistles, crumhorns, and early harp. Mindy actively freelances on the West Coast and is Principal Flute at the Mendocino Music Festival in her hometown. The mother of five boys, she loves dancing and tending her organic garden at home on “The Magic Farm.”
Danielle Svonavec, soprano, holds degrees in mathematics and voice from the University of Notre Dame. While still a student, she stepped in on short notice as soloist for the Baltimore Consort’s nine-concert 1999 Christmas tour. Since then she has toured with the Consort and appeared with the Smithsonian Chamber Players, Pomerium the South Bend Chamber Orchestra, and the South Bend Symphony. She currently serves as the Cantor at the Basilica of the Sacred Heart at Notre Dame, and teaches Middle School music at the Trinity School Greenlawn in South Bend, where she is also Dean of Junior High Girls. Danielle lives with her husband and three daughters on a farm near Goshen, Indiana.
Joanna Blendulf* has performed and recorded with notable early music ensembles including the Nota Bene Viol Consort, Wildcat Viols, Parthenia, the Catacoustic Consort, and the Washington Bach Consort. Ms. Blendulf is Associate Professor of Music at Indiana University in Bloomington where she teaches viola da gamba and Baroque cello. She is on the faculties of early music workshops across the country. Joanna is co-principal cellist and viol soloist of the Portland Baroque Orchestra and has been featured at the Oregon and Carmel Bach Festivals, the Ojai Music Festival and at international festivals in Regensburg and Villa de Leyva in Columbia, South America.
*Mary Anne Ballard is unable to join The Baltimore Consort this evening. We are grateful for Joanna Blendulf to be performing in her place.