JUDSON GRIFFIN (1951-2020) It is with great sorrow that I share the news with you that Abendmusik's principal violinist, Judson Griffin, passed away after a brief illness on May 27th. His partner, violinist Margaret Ziemnicka, was at his side at the time of his transition. Judson will be remembered for his exquisite playing, skillful programming, impeccable scholarship, beautiful editions, and gentlemanly wit. We will all miss working with him. Our most recent concert, and his last with us, took place on March 6th and remains as vivid as it was yesterday. Judson played beautifully that evening despite his health challenges, and we offer you a chance to hear him one more time in an excerpt from that concert. A full obituarywritten by cellist and member of the New York Classical Quartet, David Bakamjian appears in this link http://www.nyclassicalquartet.org/judson-griffin-in-memoriam.html. Judson plays Giovanni Antono Leoni's Sonata No. 3 for violin and continuo. https://soundcloud.com/neelyp/sonate-di-violino-a-voce-sola-op-3-1652-giovanni-antonio-leoni-d-after-1651-52720-1139-pm
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
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, The New York Consort of Viols, and Early Music New York, among others, and was a founding member of the viol consort Parthenia. For many years she was the principal violone player for Bach Vespers at Holy Trinity. 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
photos of Abendmusik by Terry Gruber
Satono Norizuki, harpsichordist, has performed frequently as a soloist in North America and her native country Japan. She has also involved as acontinuo player with numerous baroque orchestras and ensembles. As an educator, Satono has been invited to give historical keyboard lecture recitals at academic institutions, and has also hosted early music concert series. In order to raise public awareness of the historical keyboard instruments and sounds, Satono regularly appears on the live radio show and introduces early music. As a composer, Satono’s first composition titled “Flavor of D,” a harpsichord solo piece, was selected as an honorable mention in the Ninth Aliénor International Composition Competition. Satono received a Doctor of Musical Arts degree in harpsichord performance from the State University of New York at Stony Brook, where she studied with Arthur Haas. She also received Bachelor and Master of Music degrees in harpsichord performance from the Music Conservatory at Chicago College of Performing Arts, Roosevelt University, where she studied with David Schrader. Satono has been serving as artistic director at Twelve-Note Music, a music management office in White Plains, NY since 2013.
CHRISTOPHER MORRONGIELLO, a former British Marshall Scholar, is a graduate of the Mannes College of Music, the Royal College of Music, and the University of Oxford, where he earned a Ph.D. in musicology. As a recitalist, Christopher has performed to critical acclaim throughout Europe and the United States. In 1993 he was a prizewinner in the BBC Radio Two Young Musician of the Year Competition and in 1996 was awarded a Marco Fodella Foundation Scholarship for studies and research in Milan, Italy. In2006, the Lute Society of America conferred upon him its first Patrick O’Brien LSA Seminar Lectureship.
Heralded as an innovative musical director and creator of large-scale dramatic works, Christopher has a gift for bringing music of the Renaissance and Baroque to life in its literary and social context. His musical portrait of the Elizabethan muse and songstress Penelope Devereux, created for soprano Emily Van Evera (My Lady Rich, Avie Records 0045), has been described by Renaissance Magazine as “a presentation of unusual quality and beauty” and by the NY Times as “an inspired idea… a vivid and touching portrait.”
Christopher is a professor in music history at Hofstra University and teaches lute and related historical plucked instruments in his private studio in Long Island, New York. He is a member of the Venere Lute Quartet, performs regularly with soprano Marcia Young, and directs the New York-based Bacheler Consort.
SARAH CUNNINGHAM (viola da gamba) began her
In 1992 she was invited by
After moving to West Cork, Ireland, in 1999, Sarah Cunningham was in demand as a soloist and chamber musician throughout Ireland,
ROSAMUND MORLEY (viola da gamba) has performed with many renowned early music ensembles as diverse as ARTEK, The Boston Camerata, The Catacoustic Consort, Lionheart, Piffaro and Sequentia. In addition to her position in Parthenia, New York's premiere consort of
JOHN MARK ROZENDAAL (viola da gamba) specializes in teaching and performing stringed instrument music from the Baroque and Renaissance eras. As founding Artistic Director of Chicago Baroque Ensemble, JMR performed and led seven seasons of subscription concerts, educational programs, radio broadcasts, and recordings for the Cedille and Centaur labels. Rozendaal served as principal 'cellist of The City Musick, and Basically Bach, and has performed both solo and continuo roles with many period instrument ensembles, including the Newberry Consort, Orpheus Band, and the King's Noyse. Boston Early Music Festival Orchestra, and Soli Deo Gloria's Chicago Bach Project. JMR performs as a member of Trio Settecento with violinist Rachel Barton Pine and harpsichordist David Schrader; as a member of Repast Baroque
Recordings are available on the Cedille and Centaur labels.
A dedicated teacher, Rozendaal is in demand as a workshop teacher and often joins the faculties of the Viola da Gamba Society of America Conclave, Viols West’s annual workshop, Amherst Early Music, Madison Early Music Festival, and the Music Institute of Chicago’s annual Baroque Festival. JMR teaches private lessons and Viola da Gamba Dojo classes at his studio in Manhattan.
CLAIRE SMITH (baroque violin) received her MM in violin performance at The Boston Conservatory. Her teachers have included David Kim, Lynn Chang, Roy Lewis, Anna J. Choi, Magdalena Richter
VITA WALLACE (baroque violin) is known as a powerful, sensitive, and versatile musician. She is a sought-after baroque violinist: a member of ARTEK and Philomel, founding member of the Gotha City Baroque Orchestra, and guest artist with Parthenia, Concert Royal, the Dryden Ensemble, Festival Scarlatti in Sicily, and numerous other baroque ensembles and festivals. She has performed and recorded extensively as
ADAM YOUNG (viola da gamba) identifies as a baroque and modern cellist, violist da gamba, ballet dancer, accompanist, and
JASON PRISET (lute, theorbo) is a regular soloist and performer in the United States. Jason has appeared through the Chamber Music Society of Detroit, Early Music New York, and the Riverside Symphony to name a few, and includes performances in such prestigious venues as the Cathedral of St. John the Divine and Alice Tully Hall at Lincoln Center in Manhattan. Jason holds a Doctor of Musical Arts (D.M.A.) from Stony Brook University and specializes in a variety of plucked guitar and lute related instruments. Currently, Dr. Priset is serving as Executive Director for the Lute Society of America (LSA) summer festival and works as staff for Amherst Early Music (AEM). Other festival experience includes the Baroque Opera Workshop at Queens College, the International Baroque Institute at Longy (IBIL), the Long Island Guitar Festival, and the Ithaca College Winter Guitar Festival.
DEREK LEE RAGIN (countertenor) is regarded as one of the foremost countertenors of our day. In great demand as a master of Baroque vocal style, he is also an inspired interpreter of contemporary music. His performances of such diverse repertoire are characterized by an unusual warmth and expressivity, and he has received unanimous accolades from critics and audiences throughout the world.
Mr. Ragin sang the 1739 (first performance) version of Handel’s Israel in Egypt in Budapest, debuted Der Name der Rose by Munich composer Enjott Schneider (a composition for countertenor and organ written especially for him), and with the London-based group Florilegium, returned to the Budapest Early Music Festival and the Handel Festival in Halle, Germany. Mr. Ragin appeared in the Munich
Opera’s production of Rinaldo, and toured Austria and Germany with the Vienna Konzertverein. He sang Handel’s Messiah in Cleveland with Apollo’s Fire, collaborated with the Aulos Ensemble in a Christmas program at the Metropolitan Museum of Art in New York, and appeared in San Francisco with the American Bach Soloists. He also returned to Australia for performances in Sydney and Melbourne with the Brandenburg Orchestra. He sang Belize and several other roles in the world premiere of Peter Eötvös’ Angels in America at the Châtelet in Paris. He sang the world premiere of Jonathan Dawe’s Prometheus at the
Other highlights include the New York Philharmonic world premiere of Kancheli’s “And Farewell Goes Out Sighing”; performances of Bach’s St. John Passion with the London Philharmonic; Gluck’s Orfeo ed Eurydice in Vienna and at the Rheingau Music Festival; and Kancheli’s Diplipito with the Stuttgart Chamber Orchestra at the Lucerne Festival and again in Stuttgart when the work was recorded for ECM. He performed Handel’s Alexander Balus in St. Paul, Minnesota; concerts with the Cologne Chamber Orchestra in Cologne and Munich; and Bach cantatas with the Monteverdi Choir and Orchestra in Milan and London which were recorded for Deutsche Grammophon. Other engagements include performances of The Messiah with the St. Paul Chamber Orchestra, the Philadelphia Orchestra
DREW MINTER(countertenor) Regarded for over three decades as one of the world’s finest countertenors, Drew Minter grew up as a boy treble in the Washington Cathedral Choir of Men and Boys. After obtaining music degrees at Bloomington, Indiana and Vienna, Austria, Minter appeared in leading roles with the opera companies of Brussels, Toulouse, Boston, Washington, Santa Fe, Wolf Trap, Glimmerglass, and Nice, among others. A recognized specialist in the works of Handel, he has performed frequently at the Handel festivals of Göttingen, Halle, Karlsruhe, and Maryland. He has sung with many of the world’s leading baroque orchestras, including Les Arts Florissants, the Handel and Haydn Society, Philharmonia Baroque Orchestra, Freiburger Barockorchester, and as a guest at festivals such as Tanglewood, Ravinia, Regensburg, BAM’s Next Wave, Edinburgh, Spoleto, and Boston Early Music; other orchestra credits include the Philadelphia Orchestra, the San Francisco Orchestra and the St. Paul Chamber Orchestra. Mr. Minter was a founding member of the Newberry Consort, with whom he performed, toured and recorded for twenty-five years. He is also a founding member of the medieval trio TREFOIL, with whom he tours frequently, singing and playing early harps. The ensemble specializes in music of the 14th century. Other early music ensembles with which Mr. Minter frequently collaborates are My Lord Chamberlain’s Consort, ARTEK, and the Folger Consort. Mr. Minter has made over 60 recordings on Harmonia Mundi, Decca/London, Newport Classics, Hungaroton
Drew Minter is also a lauded stage director. He began as director of the operas at the Göttingen Händel Festival for five years, directing period baroque productions. Since then he has directed productions in many styles for the Opéra de Marseilles, Caramoor, the Boston Early Music Festival, the Cloisters Museum, Lake George Opera, the Orchestra of St. Luke’s, Handel and Haydn, Boston’s Opera Aperta, the Manhattan School of Music, Mannes School of Music, Boston University’s Opera Institute, Amherst Early Music, the Folger Shakespeare Theatre, the Five Colleges in Northampton, Tempesta di Mare and Cleveland’s Apollo’s Fire. In 2006 he was made Artistic Director of Boston Midsummer Opera, a summer opera company he co-founded to provide outreach through excellent and inventive productions of opera in translation (many of them in Minter’s own English translations). There he has directed Peter Brook’s Tragedy of Carmen, Mozart’s Così fan
In addition to numerous workshops in the vocal and dramatic performance of baroque music, Mr. Minter has taught voice for the past ten years at Vassar College, where he also directs the Vassar Opera Workshop and conducts the Vassar Madrigal Singers. He has taught since 1989 at the Amherst Early Music Institute. In addition to an active singing career of his own, he teaches frequent masterclasses in opera and oratorio; in recent years these have taken place at Indiana University, Boston University, the University of Massachusetts, West Chester University and the Crittendon Opera Workshops in Boston.