HESPERUS presents Fêtes Galantes
A recording celebrating the small but mighty bowed string instruments of the High Baroque and the women who played them.
“Tina Chancey returned home in quiet splendor last night. Playing together with easy rapport and mature musicianship [her ensemble] brought the antique music brilliantly to life.” Cleveland Plain Dealer
“She played quick movements deftly and there was much to admire in her stylish ornamentation and in her careful shaping of the adagios and sarabandes.” New York Times
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THE RECORDING: Tina Chancey, Catharina Meints, Annalisa Pappano and Joanna Blendulf on 5 and 6-string pardessus de viole, John Mark Rozendaal on treble and bass viols and Webb Wiggins on harpsichord perform 18th c. French and Italian chamber music by Couperin, Corelli, Marais, Rebel, Leclair, L’Abbé le Fils, Guignon and Corrette.
SPECIAL FEATURES: an intriguing 18th c. chamber version of Vivaldi’s Spring from the Four Seasons with pardessus solo, and the first modern performance of Antoine Forqueray’s fiendishly difficult bass viol music, transcribed for pardessus.
INSTRUMENTS: 6-string pardessus de viole by Pierre François Grosset, 1744. 5-string pardessus de viole by Louis Guersan, 1745. Treble viola da gamba by Pierre Morant, 1709.
RECORDING DATE: January 30, 2016-February 3, 2017
LOCATION: Spencerville Seventh Day Adventist Church, Spencerville, MD
ENGINEER: Antonino D’Urzo
SCORE READER/HARPSICHORD TECHNICIAN: Barbara Wolf
EXECUTIVE PRODUCER: Tina Chancey
ESTIMATED RELEASE DATE: April 1, 2017
Live concert recording: Allegro from Vivaldi’s Spring Concerto
Moderément from Sonata 6 by Boismortier
Couperin Concert Royale, “D’un Goût Théâtrale” Overture
Here’s the full quote. After a Fêtes Galantes concert in Houston, Texas on December 3, 2016
“The concert still reverberates around here. It was just thrilling. The pieces you selected were just about perfect; everything was different and exciting.
What a gift to be able to communicate the beauties of this unknown and almost forgotten music to an audience that knows very little of it — and then bring them to their feet!
I knew from our past associations you were very good, but I did not realize how great a performer you are — as well as Rozendaal and Wiggins. Keep your trio going–you and your compadres must keep on playing for audiences. It’s what we need.” William Pannill
TINA CHANCEY PARDESSUS DE VIOLE: DISCOGRAPHY
* Six Sonatas by Barthélemy de Caix by Duo Guersan, with Catharina Meints
* Leclair Violin Sonatas on Pardessus de Viole, with Webb Wiggins and Susie Napper
* Boismortier Trios by Trio Pardessus, with Annalisa Pappano and Joanna Blendulf
* Couperin Concerts Royaux, with Charles Weaver and John Mark Rozendaal
all available on CDbaby.com
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TINA CHANCEY is director of HESPERUS. She plays medieval and traditional fiddles and viola da gamba on roots music from Sephardic and Irish to Machaut and Joanie Mitchell.
Her particular specialty is the pardessus de viole; with support from the National Endowment for the Arts she has presented pardessus debut concerts at Carnegie Recital Hall and the Kennedy Center, and she has released four pardessus recordings, most recently Couperin Concerts Royaux. Her current project is Fêtes Galantes, a two-CD set of French and Italian baroque solo and chamber music for treble viol and five and six-string pardessus. Tina is the director of an International Pardessus Conference, consisting of scholarly papers, lecture demonstrations and concerts, to take place at the Boston Early Music Festival in June, 2017.
She attended Oberlin College and received an MA in Performance from Queens College, an MA in musicology from NYU, and a PhD in Musicology, Music Technology and Women’s Studies from the Union Institute.
A member of Ensemble Toss the Feathers and Trio Sefardi, she is a former member of the Folger Consort, the Ensemble for Early Music, New York Renaissance Band, Blackmore’s Night and QUOG. Recent artist residencies have taken her to Berlin, Germany, the Oberlin College Conservatory, the Morgan County (WV) Arts Council, and the Hong Kong Academy of Performing Arts; and she has presented workshops for the Metropolitan Museum of Art, World on a String, the Indy Convergence, the city of Long Beach, CA and the Smithsonian Resident Associates. Tina teaches, performs, improvises, produces recordings, composes and arranges (for the National Gallery of Art Vocal Ensemble, the Washington Revels, Rondo Publishing’s Celtic Gold series), writes popular and scholarly articles (for Early Music America magazine and the Journal of the Stiftung Kloster Michaelstein) and directs both SoundCatcher workshops on playing by ear and improvisation, and What’s That Note:Tune-Up workshops for amateur choruses. Tina has been given a Special Education Achievement Award by Early Music America and four Wammies for best classical instrumentalist by the Washington Area Music Association. www.tinachancey.com