The New Baroque Soloists
Program Week 1,
Wednesday, July 20, 2016, at 5:00pm
St. John's Church, 12 Main Street, Salisbury, Connecticut USA
1. Overture for Trumpets, Oboe, Strings, Timpani and Basso continuo BWV 129.1 J.S. Bach 1685-1750 Arr. D. Myers
2. Quartet for Oboe, Violin, Viola and Basso continuo QV 4:10 J.J Quantz 1697-1773
Allegro, Larghetto, Spiritoso e Allegro
3. Aria for Two Corni da caccia, Oboe da caccia, Strings, Basso continuo BWV 232.18 J.S. Bach Arr. D. Myers
4. Fugue in D G.P Kirnberger 1721-1783
Benjamin Woodward, Piano
5. Sinfonia for Two Corni da caccia, Oboe, Strings, Basso continuo RV569.1
Antonio Vivaldi 1678-1741 Arr. D. Myers
6. Allemande from the Fifth Suite in C Minor for Violoncello alone BWV 1011 J.S. Bach
Samuel Magill, Violoncello
7. Concerto for Trumpet, Strings and Basso continuo G.7 Giuseppe Torelli 1658-1709
Grave-Allegro, Grave, Allegro, Grave-Allegro
Roderick MacDonald, Trumpet
8. Sinfonia for Trumpets, Oboe, Strings, Timpani and Basso continuo BWV 11.11 J.S. Bach
The New Baroque Soloists, Douglas Myers, Artistic Director
Peter Delmonaco, Administrative & Artistic Assistant
Board of Directors 2016:
Richard Collins, President
Paddy Rossbach, Vice-President
Palmer Irving, Treasurer
Nan Longley, Secretary
Mieke Armstrong
Berel Held
Kay Key
Cavin Leeman
Susan Match
Bill Moore
The Musicians:
Twenty years ago, Douglas Myers formed The New Baroque Soloists to showcase the beautiful works of composers such as Bach, Telemann and Handel written for mixed groups with trumpet, oboe, horn, flute and voice, as well as strings.
The New Baroque Soloists perform large scale Chamber Music, the usual size being eight performers. The instrumentation is flexible, depending on concert selections, and the group performs with as few as five performers and as many as fifteen. Accordingly, a program typically includes duets, trios, quartets, etc., up to and including the full ensemble. The works are performed on the best sounding instruments available, including the unique ”corno da caccia,” or piccolo French horn. The group adheres strictly to the most informed and historically correct performance practices of the Baroque era.
The members of The New Baroque Soloists are gifted artists, and soloists in their own right, as the group name implies. Drawn from New York City and Boston, and as far away as The United Kingdom, they also perform with groups such as Orpheus, the Orchestra of St. Luke’s, Lincoln Center Chamber Music Society, the Boston Pops, the Boston Symphony Orchestra, the New York Philharmonic and the Metropolitan Opera Orchestra. They have served as concertmasters and solo wind players in orchestras in the United States, Europe and Asia.
The musicians highlighted below are representative of the high level of talent contributing to our performances:
•Doug Myers, trumpet and horn, played principal trumpet in orchestras in the U.S., Europe and Asia before turning his attention to his career as a soloist and chamber musician. At age 18, he became the youngest member of the Kansas City Philharmonic. Doug has performed with the Bach Aria Group, the Holy Trinity Bach Orchestra (NY), Musica Sacra, the Philharmonic Virtuosi, and many others. He is a specialist in the high trumpet and horn parts of the Baroque. Mr. Myers is the Artistic Director of TheNew Baroque Soloists. Most recently, he and Mr. Woodward have combined their musical knowledge to create special arrangements for The New Baroque Soloists.
•Benjamin Woodward was educated at Chetham's School of Music in Manchester, was organ scholar at Trinity College Cambridge and completed his postgraduate studies in opera at the Guildhall School of Music & Drama. He is based in London as a conductor, chorus master, pianist and chamber musician. He enjoys each summer returning to CT to play with the New Baroque Soloists, for whom he is Associate Director. He is Artistic Director of Fulham Opera, a small fringe opera company that specialises in extremely large operatic works, having this year completed two complete Ring Cycles, fully staged, just missing an orchestra, which he renders himself on the piano. He also runs orchestral workshops and this year has conducted the singers of Fulham Opera with full 80-piece orchestra in Siegfried Act 1, Goetterdaemmerung Act 3 and Strauss's Salome. In October and December he will add Strauss's Elektra and Siegfried Act 3 to this list of extremely noisy undertakings. He is Director of Music at St John's Church in Fulham, West London, where he leads professional and parish choirs and has instituted a concert series, recently having included a concert of the Bach Motets with 8-voice professional chamber choir. He also conducts Buckland & Betchworth Choral Society, having won multiple prizes at the annual Leith Hill Musical Festival, a competition instituted by Vaughan Williams. He is Assistant Music Director of Wokingham Choral Society and the Sussex Festival Singers. He spends many hours each year via Skype with Doug Myers editing a lot of the music you will be hearing over the next few weeks.
Vincent Lionti, viola
Vincent Lionti joined the Metropolitan Opera Orchestra on September 1, 1987. He holds Bachelors and Masters degrees from The Juilliard School, where he was a teaching assistant to his teacher, William Lincer, and Principal Viola of the Juilliard Orchestra. He was a substitute with the New York Philharmonic from 1981-1983. Mr. Lionti was a member of the Detroit Symphony Orchestra from 1983-1987, during which time he also was a faculty member at Macomb Community College, a member of the Lyric Chamber Players, the Renaissance City Chamber Players and a founding member of the Ventura String Quartet. Mr. Lionti has served as guest Principal Viola for the Indianapolis, New Jersey and American Symphony Orchestras, as well as the Santa Fe Opera.
Mr. Lionti has been conductor of the Greater Westchester Youth Orchestras Association since 1993 and at the Usdan Center for the Creative and Performing Arts since 2006. Since 2005, Mr. Lionti has been conductor of the Downtown Sinfonietta of White Plains and of the Merrick Symphony Orchestra since 2009. He conducted the NYU Steinhardt School Symphony Orchestra for two years and has led numerous All-State student orchestras in Connecticut, New Jersey and Florida.
Mr. Lionti is Artistic Director of The Memling Ensemble and is a member of the PBS All-Star Orchestra, New England Baroque Soloists, and the Westchester Camerata. He's appeared at many summer festivals including the Bard, Buzzard's Bay, Casals, Meadowbrook, Southampton and Sunflower music festivals.
Mr. Lionti lives in New York City with his wife Kristin, a personal assistant to Oscar de la Renta, and their son, Nicholas Lionti, who has appeared onstage as an extra at the Met in "Nixon in China" and "Macbeth".
About Us:
The Mission of the Northwest Music Association (NMA) is to sponsor Baroque Era chamber music with an educational component, performed by renowned professional musicians.
The concerts are open to the public without charge. Donations are accepted at the door.
The Northwest Music Association (NMA) will begin its tenth season in 2015. Attendance has grown steadily over the years with between 150-200 enthusiastic music lovers attending each concert. St John's Church in Salisbury, CT., with its superb acoustics, graciously provides the venue. Our audience comes from a radius of 25 miles to hear these concerts in this outstanding space.
We currently offer four concerts a year, each about an hour to an hour and fifteen minutes in length, followed by a lively reception at which musicians and audience happily mingle.
To date, NMA has contracted with The New Baroque Soloists. This highly professional group offers a varied repertoire, including popular works by well-known composers as well as premieres from the group’s proprietary repertoire. Besides playing this wonderful music, the musicians also take a few minutes to educate the audience about the historical background of the times, instruments and pieces about to be played.
After nine successful seasons, there is a strong sense of community characterized by a warm and energized rapport between the audience and musicians.
The NMA's board is growing in number and diversity. Members give time and money to support the mission.
