Sunday, October 6, 2019, 4 p.m.
Corpus Christi Church
Four singers and baroque chamber orchestra
Cantica Nova: Discoveries from Uppsala’s Düben Manuscripts
In 1732, Gustaf Düben, the last of his family to serve as hovkapellmästare at the Swedish Court, gave his collection to Uppsala University. This trove contains 1,800 works by famous and obscure composers. ACRONYM, ever dedicated to finding repertory on the wild side, performs sonatas and cantatas by Capricornus, Schmelzer, Carissimi, and others. Founded in 2010, the ensemble delights with its vivacious, heartfelt style.
Post-concert Q and A
“The playing Sunday stood out for its gusto and vitality. There was an utter lack of mannerism or curatorial preciousness…. ACRONYM took to all the music with verve, playing with excellent communication and unanimity.” —New York Classical Review
Baroque band ACRONYM, an “outstanding young early-music string ensemble” (New Yorker), is dedicated to giving modern premieres of the wild instrumental music of the 17th century. Playing with “consummate style, grace, and unity of spirit” (New York Times), the group formed in 2012 and has released eight critically acclaimed CDs since 2014. Recent projects include the first modern performances and recordings of works by Biber and Rosenmüller, and Samuel Capricornus’s epic cantata cycle Jubilus Bernhardi with the Bach Choir of Holy Trinity. Forthcoming albums include the premiere recording of Johann Heinrich Schmelzer’s forgotten oratorio Le Memorie Dolorose with the early music ensemble, TENET Vocal Artists. Recent and upcoming engagements for ACRONYM include Boston Early Music Festival, Isabella Stewart Gardner Museum (Boston), Washington National Cathedral (D.C.), Hamilton College Performing Arts Series (Clinton, NY), Indianapolis Early Music Festival, Toledo Museum of Art, Renaissance & Baroque (Pittsburgh), Academy of Early Music (Ann Arbor), Chamber Music Wilmington (NC), Electric Earth Concerts (Peterborough, NH), Mahaiwe Performing Arts Center’s Close Encounters with Music (Great Barrington, MA) and Five Boroughs Music Festival (NYC). In the 2018-19 season, ACRONYM held academic residencies at Youngstown State University and Vassar College. ACRONYM’s musicians can be heard in Apollo’s Fire, Tafelmusik, Les Arts Florissants, Handel and Haydn Society, Chicago Lyric Opera, International Contemporary Ensemble, and the English Concert.
ACRONYM is represented by Anna Lysack of summerellarts.com
Hailed for her “radiant sweetness” by the New York Times, Molly Quinn, soprano, has collaborated with The Knights, Portland Baroque Orchestra, The Bang on a Can All-Stars, TENET, Trinity Wall Street, Clarion Music Society, Apollo’s Fire, Folger Consort, Saint Thomas Fifth Avenue, and Pacific Baroque Orchestra. Molly was dubbed “pure radiance” by the Los Angeles Times for her work with The Bang on a Can All-Stars in Steel Hammer, and Opera News calls her “a lovely and feisty companion” for her Papagena in Die Zauberflöte. She was a soloist on Trinity Wall Street’s Grammy-nominated recording of Handel’s Israel in Egypt, and has appeared as soloist in Shostakovich Hall (St. Petersburg), Teatro National de Costa Rica, Carnegie Hall, Alice Tully Hall, Kennedy Center, Arts Center of NYU Abu Dhabi, Vancouver’s Chan Centre, and San Cristobal Cathedral in Havana, Cuba.
Noted for “crystalline diction and pure, evenly produced tone” (Miami Herald), countertenor Reginald Mobley is highly sought after for baroque, classical, and modern repertory. Past performances include premiering a reconstruction of Bach’s Markus-Passion at Oregon Bach Festival, as well as a European tour singing Bach’s Matthäus-Passion with the Monteverdi Choir and English Baroque Soloists, led by Sir John Eliot Gardiner. Reginald also performed Handel’s Messiah with Royal Scottish National Orchestra and Purcell’s King Arthur with the Academy of Ancient Music in London. Additional recent and upcoming engagements include concerts with Philharmonia Baroque Orchestra and New Jersey Symphony, and Mozart’s Requiem in Poland in April 2019, a recital at the Musee d’Orsay, and performances of Mozart’s Requiem with Orkiestra Historyczna in Poland, as well as returning to BachAkademie Stuttgart.
Garnering praise for his “most impressive, … bright, clear tone and lively personality” (New York Times), American tenor Brian Giebler is a “faultless high tenor” (Seattle Times) with “lovely tone and deep expressivity” (New York Times). Recent seasons’ highlights include solo engagements with The English Concert (Handel Semele with Harry Bicket), The Cleveland Orchestra (Stravinsky Threni with Franz Welser-Möst), Boston Baroque, Charlottesville Opera, the Grand Rapids, Virginia, and Syracuse Symphonies, Handel & Haydn Society, Trinity Wall Street, Mark Morris Dance Group, Boston Modern Orchestra Project (Wuorinen’s Haroun and the Sea of Stories), the Oregon and Carmel Bach Festivals, and Musica Sacra (Carnegie Hall). Mr. Giebler took second place in the 2018 Lyndon Woodside Oratorio-Solo Competition at Carnegie Hall, and was a prizewinner at the American Bach Society’s 2016 Biennial Bach Vocal Competition.
Bass-baritone Jonathan Woody is a sought-after performer of early music across North America. He has appeared with Apollo’s Fire, Boston Early Music Festival, Tafelmusik Baroque Orchestra, Bach Collegium San Diego, and Portland Baroque Orchestra. Jonathan is a regularly featured member of the Choir of Trinity Wall Street, earning praise as “charismatic” and “riveting” from the New York Times. Festival appearances include Staunton, Britten-Pears Young Artist Programme, Portland, Carmel and Oregon Bach festivals, American Bach Soloists Academy, and Amherst Early Music. Jonathan has recently joined Opera Lafayette, Gotham Chamber Opera, and Beth Morrison Projects, and he has recorded with the Choir of Trinity Wall Street on their Grammy-nominated recording of Israel in Egypt. Other recordings include Boston Early Music Festival’s St. Matthew Passion of J. Sebastiani and New York Polyphony’s Roma Æterna.