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Home , Harpsichord, John Cooper (composer), John Jenkins (composer), Lyra viol, Thomas Baltzar, Viol

Also by Trio Settecento on Cedille Records

“There isn’t a piece that doesn’t impress. This is as good a collection for a new- comer to the as it is for those who want to hear these works performed at a high level.” — Gramophone

An Italian Sojourn CDR 90000 099

“The virtuosity and spirit are stunning here, going from one set of interesting musical challenges to the next, and carrying us along for the ride in a spate of emotional bliss. . . . Enthusiastically recommended!” — Audiophile Audition A German Bouquet CDR 90000 114

“I can’t emphasize enough the solid, unwavering communicative skills shown by these musicians, which culminates in one of this year’s more enjoyable — and replayable — recordings.” — ClassicsToday.com

A French Soirée CDR 90000 129 Producer James Ginsburg Engineer Bill Maylone Editing Jeanne Velonis Technical Editing Bill Maylone Trio Settecento AN ENGLISH FANCY Graphic Design Nancy Bieschke 1 (1539–1623) bq THOMAS BALTZAR (c. 1631–1663) Cover Painting King Charles I of Out Hunting, c.1635 (oil on canvas), Sellinger’s Rownde (5:31) John Come Kiss Me Now (5:02) Sir Anthony van Dyck (1599–1641) / Louvre, Paris, / Giraudon / The Bridgeman Art Library 2 (c. 1569–1645) MATTHEW LOCKE (c. 1621–1677) Recorded August 1–5, 2011, in Nichols Concert Hall at the Institute of Chicago, Captaine Hume’s Lamentation (6:38) “For Several Friends,” in B-flat Major (7:51) Evanston, Illinois (1605–1645) br Fantazie (1:15) ck (1:01) Instruments Suite No. 8 in D Major (11:37) bs Pavan (2:43) cl Saraband (0:39) Jason Viseltear, 1999, treble violin based on models of Gasparo da Salò 3 Fantazia (5:51) bt Ayre (1:00) cm Jigg (1:11) (1542–1609), generously loaned by David Douglass. 4 Almaine “la goutte” (3:20) Violin Strings Natural gut by Daniel Larson at Gamut Music, Inc. 5 Galliard (2:25) (1659–1695) Harry Grabenstein, replica of early 17th Century model. Ayres for the Theatre (11:42) Violin Bow (1592–1678) cn da Gamba William Turner, , 1650. Suite No. 2 in G Minor (11:21) Overture (from Bonduca) (4:22) co Slow Air (from Distressed Innocence) (2:04) Willard Martin, Bethlehem, Pennsylvania, 1997. Single-manual instrument after a 6 Fantasia (5:29) cp Air (from The Virtuous Wife) (0:36) concept by Marin Mersenne (1617), strung throughout in brass wire with a range of GG-d3. 7 Air (3:39) cq on a Ground Positiv Organ James Louder, Montreal, 2009. Five stops. 8 Corant (2:13) (from The Married Beau) (2:00) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted CHRISTOPHER SIMPSON (c. 1605–1669) cr Dance for the Chinese Man and Woman to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s “The Little Consort,” Suite in G Minor/ (from The Fairy Queen) (2:39) activities are supported in part by contributions and grants from individuals, foundations, corporations, and Major (12:50) cs HENRY PURCELL government agencies including the Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, Negaunee 9 bn Pavan (3:22) Alman (1:59) Pavan in B-flat Major(3:34) Foundation, Sage Foundation, and the Illinois Arts Council, a state agency. This project is partially supported by a bk Corant (1:19) bo Corant (1:43) CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events. bl Ayre (2:15) bp Saraband (0:39) ct HENRY PURCELL bm Corant (1:31) Hornpipe from Abdelazer, CONTRIBUTIONS TO THE CHICAGO CLASSICAL RECORDING FOUNDATION “Hole in the Wall” (3:04) MAY BE MADE AT WWW.CEDILLERECORDS.ORG OR 773-989-2515. TT: (79:50) CEDILLE RECORDS® trademark of The Chicago Classical Recording Foundation 1205 W Balmoral Ave., Chicago IL 60640, USA Rachel Barton Pine, violin An additional track, Henry Butler’s (d. 1652) 773.989.2515 tel • 773.989.2517 fax CEDILLERECORDS.ORG John Mark Rozendaal, viola da gamba in F, is available as a download on iTunes. CDR 90000 135 P & C 2012 Cedille Records David Schrader, harpsichord/positiv organ All Rights Reserved. Made in U.S.A A Personal Note attempting to find notes on the renaissance violin were the most out-of-tune I by Rachel Barton Pine have played since my first Suzuki lessons at age three! Trio Settecento’s An English Fancy is the fourth and last album in our series So why not make things easier by holding the renaissance violin on the shoulder? surveying 17th and music from different European regions. First of all, the arm-held position is not inherently any more difficult than the Throughout these CDs (previous discs in this series are: An Italian Sojourn, A shoulder-held position. In fact, the latter is less natural to our bodies; we feel more German Bouquet, and A French Soirée, respectively), we have chosen instruments comfortable only because it is more familiar. Second and more important, the bow that are historically informed to best capture the spirit of the compositions. John arm’s relationship to the body is radically different when the violin is lower. Rather Mark Rozendaal’s bowed bass instruments have included a baroque violoncello, a than being lifted up, which creates tension and dissipation, the arm swings freely, six-string viola da gamba, and a seven-string basse de viole. David Schrader has using gravity to great effect in dance tunes and music derived therefrom. Thus, used a variety of keyboard instruments: single and double manual while the sound of a renaissance violin played on the shoulder certainly won’t be and a positiv organ. Until now, however, I have played only on my mistaken for a baroque violin, its tonal capabilities will only be fully realized when (Nicola Gagliano, 1770, in original, unaltered condition). properly played on the arm. For An English Fancy, I play on a modern replica of a renaissance violin. Just as As a woman, I confess that I have enjoyed an additional benefit to playing the the construction and setup of the baroque violin differs significantly from that of renaissance violin: I can finally wear a necklace and dangling earrings while the modern violin, the violin in its earliest form is quite distinct from the same performing! instrument in the later High Baroque era. The neck and are shorter, Special thanks goes to David Douglass for helping me realize that playing Byrd the and are thinner, and all four strings are made of raw gut. and Butler on a baroque violin is just as historically uninformed as playing Bach Needless to say, the renaissance violin has a special voice, easily distinguishable and Buxtehude on a modern violin. I am very grateful for David’s mentorship and from its successors. But that is just the beginning. generosity in helping me learn how to play the renaissance violin, inviting me to Not only are the baroque and modern violin (or violoncello) very different perform on it with him, and loaning me one of his instruments for this recording. equipment, their use demands very different technique from both the right and For further discussion of the violin in its earliest incarnation, please see David’s left arms and hands. Many excellent modern violinists have had the experience of articles: “The Violin” in A Performer’s Guide to (Jeffrey T. Kite- being “all thumbs” when first attempting to wield a baroque violin. Similarly, skill Powell, ed., Indiana University Press) and “The Violin: Technique and Style” in A Performer’s on the baroque violin does not guarantee easy competency on the renaissance Guide to Seventeenth-Century Music (Stewart Carter, ed. Indiana University Press). violin. The renaissance violin is held on the arm and supported by the left hand. What’s next for Trio Settecento? We have lots of plans and ideas, including The left wrist must be bent backwards, a position considered a terrible bad habit complete sets of by single and collaborations with guest in later styles of violin playing! Second and third position notes are reached by artists. I hope that you will enjoy this album and those to follow. Meanwhile, if changing the angle of the fingers’ joints instead of by shifting. My first few weeks we are not performing in your town, you can always see us in concert by visiting YouTube.com/TrioSettecento.

4 5 Of Musick design’d for Instruments Python — only the English — had the their performing as much as for their

AN ENGLISH FANCY . . . the chief and most excellent, for extravagant turn of mind to adopt compositions. Solo performers on the Notes by John Mark Rozendaal Art and Contrivance are Fancies, of 6, the Fantasy as its primary vehicle for bass in England developed two The most principal and chiefest kind 5, 4, and 3 parts, intended for . instrumental for a full distinct modes of execution. The “lyra of music which is made without a In this sort of Musick the century. English composers of the viol” and the “divisions viol” seem not ditty is the Fantasy, that is when a (being not limited to words) doth 16th and 17th centuries gave wing to have been two different musical musician taketh a point at his pleasure employ all his Art and Invention about to their flights of fantasy with daring instruments (although a particular viol and wresteth and turneth it as he the bringing in and carrying on of . . . experiments in musical form, melody, may be designed to suit one idiom list, making either much or little of it Fuges, according to the Order and harmony, , decoration, better than the other) but two ways of according as shall seem best to his Method formerly shewed. When he instrumental techniques, gestures, performing on and composing for the own conceit. In this may more art be has tried all the several wayes which colors, combinations, and even spiritual viol. In playing “divisions” the violist shown than in any other music because he thinks fit to be used therein; he exploration. Trio Settecento’s recital of takes a tune or bass line written in slow the composer is tied to nothing, but takes some other point, and does English music includes forays into all of note values and creates variations by may add, diminish, and alter at his the like with it; or else, for variety, these realms of sonic imagination. dividing those long notes into smaller, pleasure. And this kind will bear any introduces some Chromatick Notes, faster ones. Henry Butler developed allowances whatsoever tolerable in with Bindings and Intermixtures of A feature of this repertoire is the the technique to a pinnacle of virtuosity other music except changing the air Discords; or, falls into some lighter prominent role of the viola da gamba. and leaving the , which in Fantasie humour like a , or what else At the turn of the 17th century, the in which those very long notes may may never be suffered. Other things his own fancy shall lead him to; but was giving way to the viola da gamba be rendered as lyric melody, glittering you may use at your pleasure, as still concluding with something that as the preëminent vehicle for stringed- cascades of scales, leaping and bindings with discords, quick motions, hath Art and excellency in it. instrument virtuosity in England; the turning figures, or tortured passages of simulated counterpoint exploiting the slow motions, Proportions, and what — Christopher Simpson viol (as the English economically you list. Likewise this kind of music is, from The , London, 1659. refer to it) held that status until the instrument’s entire four- range. with them who practise instruments All European nations developed musical Restoration, when new continental The , on the other hand, was a of parts, in the greatest use, but for genres with the name (in one form styles of violin playing came to Britain. viol played in the manner of a bowed voices it is but seldom used. or another) “fantasy.” But only the Five of the composers represented lute. Lyra viol repertoire is notated in — country that gave the world William here were themselves virtuoso viol lute , a sort of graphic notation from A Plaine and Easier Introduction to Practicall Musicke, London, 1597. Blake, Lewis Carroll, and Monty players, renowned in their day for that facilitates writing and reading

6 7 of dense or airy chordal textures in a The remarkable composition, Captaine profound pavans, and a heart- Often the second dance is completed variety of tunings. Tobias Hume, William Hume’s Lamentation, is found in the wrenching portrait of the ill-fated or followed by a slow section referring Lawes, John Jenkins, and Christopher 1605 print Captaine Hume’s Musicall Lady Arabella Stuart. Captaine Hume’s back to the opening fantasy. These Simpson all used both manners Humors, dedicated to King James Lamentation is unique in several perorations make it clear that the pieces of writing for the viol. In the works I. Tobias Hume was the model for respects. Composed for a lyra viol in are not just collections of individual presented here, we find these virtuosi the character of Sir Toby Belch in “normal” tuning accompanied by a movements but truly integrated multi- exploring a variety of approaches to Shakespeare’s Twelfth Night. Like Sir single, unspecified treble instrument, movement works. These were the first integrating these specific instrumental Toby, Tobias was a mercenary soldier the seven-minute piece is a through- such works ever composed — created idioms into ensemble textures. gone to seed at court. Sir Toby composed emotional odyssey trans- decades before the Italian sonata and One time-honored format for expression also mentions his admiration for Sir porting performers and listeners through French dance suite achieved a similar of a musician’s fancy is variations on Andrew’s playing on the “viol de regions of grief, despair, rapture, balance of articulation and integration. a theme. Britain’s vast repertoire of gamboys.” The biggest giveaway, tranquility, and mystery. This is music Coprario’s suites are of such simplicity traditional tunes for ballads and dances however, is Shakespeare’s pun on worthy of the age that gave us that one can easily imagine the prince provided a rich source of material, the name of Hume’s book, Captaine Shakespeare. playing the bass viol parts himself, as Hume’s Musicall Humors, so titled to legend has it he did. The fantasy suites including many melodies whose beauty The term fantasy suite has been coined indicate the rich variety of moods in the of Lawes and John Jenkins are another led to sustained popularity both at home to describe a genre invented by music. Hume’s use of the word humors matter, featuring brilliant virtuoso and abroad. William Byrd seems to Giovanni Coprario (aka , refers to the renaissance conceit that passagework for all instruments. have had a special love for this music, the Italian-trained dean of English human emotions result from the for traditional tunes frequently appear composers who tutored William Lawes The wonderfully strange and passion- balancing of four fluids in our bodies: embedded in various ways in his solo and Prince Charles (later King Charles ate sound world of William Lawes blood (for the sanguine mood); keyboard and chamber music. In such I) in music and mentored a generation defies description. Lawes’s fantasia sets black bile (melancholy); yellow bile works, one hears a brilliant composer of English composers). The form for four, five, and six viols have achieved (choler); and phlegm (self-explanatory). of art music both receiving inspiration consists of a fantasy followed by a cult status due to their remarkable Thus the pun: Hume – humor – bodily from and paying tribute to his nation’s pair of dances scored for two or three combination of musical beauty, emotional fluid – Belch. Buffoon though he may native lyric genius. Trio Settecento has instruments (combinations of bass viols intensity, and sheer weirdness. These have been, Hume was capable of adapted Byrd’s nine solo keyboard and treble instruments) accompanied qualities are likewise present in his writing deeply serious music, including variations on Sellinger’s Rownde for by elaborate obbligato organ parts. works for smaller ensembles. ensemble performance. a meditation on “Deth,” [sic] several

8 9 In the Almaine, subtitled “la goutte,” with unfailing aplomb. In the Suite in G set, taking a cue from the tendency of Nicholas L’Estrange and relates that he the instrumental delivery of a single Minor, Jenkins gives extra scope to his Lawes, Simpson, and Locke to group “plaid on that single Instrument a full tone is a musical event capable of fancy by writing out the repeats of his more or less closely related sets in Consort, so as the rest, flung-downe development by imitation, repetition, dances with elaborate, transformative minor/major key pairings. The suite their Instruments, as acknowledging extension, sequence, stretto, and so ornamentation. These differences opens with a pavan. Thomas Morley, a victory.” Wood describes a musical on, creating a sort of proto-minimalism. notwithstanding, the music of Jenkins directly after his description of the meeting in at which Baltzar and Lawes (again, like that of Haydn fantasy quoted at the start of these If Lawes was the Mozart of his day [P]layed to the wonder of all the and Mozart) gives evidence of a fruitful in England, John Jenkins was the notes, tells us that, “The next [kind of auditory; and exercising his finger dialogue wherein the two composers corresponding Haydn figure for that music] in goodness and grace unto upon the instrument several wayes traded inspirations as they explored time and place. Like Haydn, Jenkins this is called the Pavan.” In Morley’s to the utmost of his power. Wilson, different possible realizations of a set worked mainly in the country homes time, the pavan had evolved from a thereupon, the public professor, the of musical genres. of music-loving aristocrats and straightforward court processional greatest judge of Musick that ever produced, throughout a long career, While Christopher Simpson is best into an imposing vehicle for carrying was, did, after his humoursome way, a steady stream of innovative work remembered for his works for the substantial and complex emotional stoop down to Baltzar’s feet, to see characterized by wit, infinite melodic divisions viol, he also composed material. In the consort sets of Simpson whether or not he had a huff on, that is to say, to see whether he was a devil invention, craftsmanship, and generous music for the lyra viol. The suites in and Matthew Locke, a briefer, lighter or not, because he acted beyond the good nature. Also like Haydn, Jenkins Simpson’s collection The Little Consort type of pavan appears, relying less on parts of a man. seems to have been content to are scored for treble viol or violin, drama and more on melodic watch his younger, more romantic lyra viol, and basso. Here the lyra viol gesture, and sometimes taking the Baltzar’s famous multi-stopping and colleague shine in the more brilliant contributes modestly to the filling out honored position usually reserved for agility in passage work are in evidence and dangerous orbit of the court. of the harmony, but its main function is the fantasy, at the opening of a set. in the exciting variations on “John Where Lawes’s music continuously that of a second melodic instrument in The Lübeck-born violinist Thomas Come Kiss Me Now,” published in John flirts with contrapuntal and affective dialogue with the violin, creating a true Baltzar’s advent on England’s musical Playford’s The Division Violin of 1684. disaster, involving performers and trio-sonata texture. scene in 1655 was a sensation colorfully Not in evidence here or in any surviving listeners in a sort of musico-emotional We have chosen movements from recorded by diarist and work of Baltzar is his use of high brinksmanship, Jenkins’s art depicts Simpson’s lengthy suites in G minor and music chronicler . Evelyn positions, remarkable and remarked strong passions and serene pleasures G major to create a more condensed heard Baltzar at the London house of upon in his day. In recognition of

10 11 Baltzar’s pioneering achievement, overture and dance forms and Italian in these tunings to intensify expressions the .) The variations on “Hole Rachel Barton Pine has adapted this vocal styles. The result is music whose of desire and anguish on the one hand, in the Wall” heard here are our own, piece to include passages up to the immediate attractiveness, enduring and fulfillment and repose on the other fashioned following the instructions of seventh position. freshness, and satisfying complexity when the shrill clashes yield to purest Christopher Simpson in his 1659 book, In his later years, Matthew Locke, have never been surpassed in the harmony. The Division Viol. the finest English composer of his history of English music. Like all Purcell’s Pavan in B-flat Major is one of A note on performance practice: popular theater music, Purcell’s show generation, revised his important a group of four pavans scored for two The question of pitch — whether tunes were immediately adapted corpus of chamber music and copied , bass viol, and organ, an archaic musicians choose to tune their in- and published for domestic use. We it into a fair manuscript now housed at scoring recalling the fantasia suites of struments starting at A=440, or A=415, have drawn our suite from the 1697 the British Library. The book contains Jenkins and Lawes. Here, however, the or some other standard — is a vexed publication A Collection of Ayres, six groups of suites, each for a different ostentatious busy-ness of the cavalier one that historically minded performers Compos’d for the Theatre, and Upon scoring. The works for treble and bass virtuosi is replaced by a more modern, prefer to consider with care and an open Other Occasions, freely arranging for in the group charmingly titled For simple, and poignant flow of melodic mind. Trio Settecento usually performs our own combination of instruments. Several Friends are prime examples of gesture. at A=415, a pitch close to some of the Locke’s genius for leading the listener Transcriptions of theater music for Our program ends as it began, with common standards recorded in the through a refined series of affective performance as keyboard solos were variations on a beloved English tune. Europe in the 18th century. The trio states using only a small number of as popular in the 17th century as Purcell’s music for the 1695 revival of has performed and recorded French miraculously entwined melodic voices they are now. Following this practice, Aphra Behn’s 1676 play, Abdelazer, music at A=392, a low pitch known to (two here, never more than four). David Schrader has made his own contains two hornpipes. One appears have been used in France, and one that Between 1680 and 1695, Henry Purcell arrangement of the Overture from in the 1698 edition of ’s produced the sweet sound sought in composed music for more than 50 Bonduca for this program. Listeners will collection, The English Dancing Master, the style précieuse. For this recording theatrical productions — a flood of certainly notice the harsh dissonances under the title “Hole in the Wall,” and we have chosen to play at A=440, a lyric inspiration comparable to the that occur when this piece is performed achieved lasting fame in country dance higher pitch than usual for us. Evidence achievements of Mozart or Gershwin. on a keyboard tuned in a mean-tone circles under that name. (The other suggests that music may have been In this music, Purcell grafts his native tuning. This effect is intentional. The hornpipe for Abdelazer is Purcell’s performed at this pitch (or possibly melodic gift and mastery of classic keyboard repertoire of the period most famous tune, thanks to Benjamin even as high as A=460) in early 17th- English counterpoint onto French exploits the variety of sounds available Britten’s The Young Person’s Guide to century England. What is certain is

12 13 that string players of the period were An additional track, Henry Butler’s About the Artists instructed to tune their highest strings (d. 1652) Sonata in F, is available as a as high (i.e., as tight) as possible without download on iTunes. Henry Butler was a Formed in 1996 to record the complete violin sonatas of , viol virtuoso who spent his career at the breaking. (It possible to tell before the performing ensemble of Rachel Barton Pine, John Mark Rozendaal, and David is court of Philip IV of . According to the string actually breaks.) This high Schrader took the name Trio Settecento the next year. Critical acclaim for that disc led James Wadsworth, author of The English to period-instrument recitals throughout the U.S., including their New York debut at tension produces a quick response Spanish Pilgrim (1629), Butler “teacheth the Frick Collection in 2006 and their debut at the Boston Festival in 2007. and brilliant sound ideal for the quickly his Catholike Majesty to play on the Performing on antique instruments of rare beauty and expressive power, these three running and leaping passage work Violl, a man very fantasticall, but one who virtuosi breathe life into musical masterpieces that capture the dramatic intensity of found in this repertoire. So for this hath his pension truly paid for his fingers sake.” To perform what he wrote, Butler the Italians, the poetic gestures of the French school, and the profound humanism project we have adopted what is for must have been “fantasticall” indeed, of J.S. Bach. Trio Settecento’s passionate and authoritative interpretations renew us a high, if not string-breaking, pitch and the pension earned by those fingers the pleasures of hearing beloved music from the Age of Enlightenment while also level, not out of a slavish devotion to should have been a very good one. revealing the delights of new discoveries. Their imagination, vigor, technical polish, authenticity but simply attending to the and historical insight have made the Trio’s performances appealing to audiences advice of our forebears in our attempt and critics alike. to best serve the music. For more about Trio Settecento, please visit triosettecento.com.

Trio Settecento from left to right: John Mark Rozendaal, Rachel Barton Pine, David Schrader

Photo by Janette Beckman

14 15 Rachel Barton Pine of Early Music America, she has collaborated with many leading artists including David Douglass, Elizabeth Wright, Marilyn McDonald, Gesa Kordes, Temple of Apollo, and Violinist Rachel Barton Pine has an extraordinary gift for connecting with people. the Chicago Baroque Ensemble. She made her debut on the viola d’amore with Ars Recognized as a great interpreter of classical works, her performances combine a Antigua in 2007 and on the in 2009 with the Newberry Consort in concert in scholarly fascination with research with an innate gift in communicating emotional Chicago and at the Madison Early Music Festival. nuances. Audiences are thrilled and uplifted by her dazzling technique, lustrous tone, This is Pine’s 14th recording for Cedille Records. Her most recent releases include Trio and infectious joy in music-making. She plays with passion and conviction and her work Settecento’s A French Soirée; Capricho Latino, solo violin music on Spanish and as a philanthropist continues to inspire the next generation of artists. themes; Trio Settecento’s A German Bouquet; Beethoven & Clement Violin , Pine has appeared as soloist with many of the most prestigious , including the recorded with the Royal Philharmonic Orchestra conducted by José Serebrier; Trio Chicago, Montreal, Atlanta, and Baltimore , and the Philadelphia Orchestra. Settecento’s An Italian Sojourn; American Virtuosa: Tribute to Maud Powell, with Overseas, she has performed with the Vienna, New Zealand, Iceland, and Budapest Matthew Hagle; Scottish Fantasies for Violin and Orchestra, with the Scottish Chamber Symphonies; the Royal Scottish and Belgian National Orchestras; the Mozarteum, Orchestra conducted by Alexander Platt; and Brahms & Joachim Violin Concertos, with Scottish, and Israel Chamber Orchestras; the Royal, Calgary, and Russian Philharmonics; the Chicago Orchestra conducted by Carlos Kalmar. and the Radio Kamer Filharmonie. She has worked with renowned Pine writes her own cadenzas and often performs her own arrangements. With the conductors Charles Dutoit, John Nelson, Zubin Mehta, Erich Leinsdorf, Neeme Järvi, release of The Rachel Barton Pine Collection of Original Compositions, Arrangements, Marin Alsop, Placido Domingo, and Semyon Bychkov. Her festival appearances include Cadenzas and Editions, she became the only living artist and first woman to join the Marlboro, Ravinia, and Salzburg. ranks of great musicians like Fritz Kreisler and Jascha Heifetz by having her compositions Pine holds prizes from leading competitions, including a gold medal at the 1992 J.S. Bach and arrangements published as part of Carl Fischer’s “Masters Collection” series. She International Violin Competition in Leipzig, , making her the first American and, is Music Advisor and Editor of Maud Powell Favorites, the first published compilation of at age 17, the youngest performer to win this honor. Other top awards came from the transcriptions, cadenzas, and compositions closely associated with Powell. Queen Elisabeth (Brussels, 1993), Kreisler (Vienna, 1992), Szigeti (Budapest, 1992), and Pine is committed to encouraging the next generation of artists and audiences. Her Montreal (1991) international violin competitions. She won the prize for interpretation Rachel Elizabeth Barton Foundation assists young artists through various projects of the Paganini Caprices at both the 1993 Paganini International Violin Competition in including the Instrument Loan Program, Grants for Education and Career, Global Heart Genoa and the Szigeti Competition. Strings, and a curricular series developed in conjunction with the University of Michigan: “One of the rare mainstream performers with a total grasp of Baroque style and The String Student’s Library of Music by Black Composers. She is a Life Trustee of the embellishment” (Fanfare) and “a most accomplished Baroque violinist, fully the equal Music Institute of Chicago, which named the “Rachel Barton Pine Violin Chair” in her of the foremost specialists” (Gramophone), Pine has been involved in historically- honor. informed performances of early music since age 14. Named to the Board of Directors For more information, please visit rachelbartonpine.com.

16 17 John Mark Rozendaal David Schrader John Mark Rozendaal specializes in teaching and performing stringed instrument music Equally at home in front of a harpsichord, organ, , or , David Schrader from the Baroque and Renaissance eras. As founding Artistic Director of the Chicago is “truly an extraordinary musician . . . (who) brings not only the unfailing right technical Baroque Ensemble, Rozendaal performed and led seven seasons of subscription approach to each of these different instruments, but always an imaginative, fascinating concerts, educational programs, radio broadcasts, and recordings for the Cedille and musicality to all of them” (Norman Pelligrini, WFMT, Chicago). A performer of wide Centaur labels. Rozendaal served as principal ’cellist of The City Musick, and Basically ranging interests and accomplishments, Schrader has appeared with the Chicago, Bach, and has performed both solo and continuo roles with many period instrument Dallas, San Francisco, and Colorado Symphonies, and appeared as a soloist at four ensembles, including the Newberry Consort, Orpheus Band, King’s Noyse, Boston Early national conventions of the American Guild of Organists (1984, 1994, 1998, and Music Festival Orchestra, and Soli Deo Gloria’s Chicago Bach Project. In addition to 2006). He has also performed at the prestigious Irving Gilmore Keyboard Festival his work with Trio Settecento, Rozendaal performs as a member of Repast Baroque (playing separate concerts on organ, harpsichord, and ) and at the Ravinia Ensmeble and the viol consort, Sonnambula. Rozendaal’s viola da gamba playing has Festival; Aspen Music Festival; Oulunsalo Soi Music Festival in Oulu, Finland; Michigan been praised as “splendid” (Chicago Tribune) and “breathtaking” (Sun-Times). Mozartfest; Boston Early Music Festival; Santa Fe Chamber Music Festival; Connecticut Early Music Festival; Manitou Music Festival; and as soloist and conductor at the Highlights of Rozendaal’s 2012–2013 season include appearances with Brandywine Woodstock (Illinois) Mozart Festival. Baroque (Delaware) and participation in Indiana University/Purdue University-Fort Wayne’s Cagefest, a centennial celebration of the work of John Cage. A resident of Chicago, Schrader performs regularly with Music of the Baroque, the Newberry Consort, and Bach Week in Evanston. He has also appeared with The A dedicated teacher, Rozendaal is in demand as a workshop instructor and often joins Chicago Chamber Musicians, Contempo (f.k.a. the Contemporary Chamber Players), the faculties of the Viola da Gamba Society of America Conclave, Viols West’s annual the Chicago Baroque Ensemble, and The City Musick. He is a frequent guest on WFMT’s workshop, Amherst Early Music, Madison Early Music Festival, and the Music Institute “Live From WFMT” series of broadcast in-studio performances and a founding member of Chicago’s annual Baroque Festival. Rozendaal teaches private lessons and Viola da of Baroque Band, Chicago’s period-instrument orchestra. Gamba Dojo classes at his studio in Manhattan Schrader is on the faculty of Roosevelt University’s Chicago College of Performing Arts. This is Rozendaal’s tenth recording for Cedille Records. For nearly thirty years, he has been the organist of Chicago’s Church of the Ascension. For more about John Mark Rozendaal, please visit jmrozendaal.com. This is Schrader’s 21st recording for Cedille Records. For more about David Schrader, please visit davidschrader.com.

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