Sanctum et Saeculare

jacqui-and-elizabethJacqueline Horner-Kwiatek, voice, with Elizabeth Weinfield, vielle and viol

Jacqueline Horner-Kwiatek and Elizabeth Weinfield, Artistic Director of the acclaimed period ensemble Sonnambula, come together to offer a program that combines medieval chant and song with music by 20th and 21st century composers using medieval texts as inspiration. The program features sacred and secular English songs and chant from the 13th, 14th and 15th centuries, an arrangement of the Offertory chant O Quam Glorifica by British composer Michael Finnissy, and three newly commissioned works by composers Joel Phillip Friedman, Andrew Lovett, and Daniel Thomas Davis.

The three texts given to Friedman, Lovett, and Davis are examples of 14th-century secular love poetry and are taken from the Findern Manuscript (compiled in England in the late 15th century). It is generally thought that many of the poems in the Findern MS were written by women, as they express a feminine perspective on issues such as love and constancy. While there are very little surviving musical settings of secular Middle English texts, having them set by contemporary composers is part of an ongoing project to bring these beautiful poems back to life.

Upcoming performances:

February 4th, 2017. Sanctum et Saeculare Spectrum NYC, 121 Ludlow St, 2nd Floor,  at 9pm.

February 11th, 2017. Sanctum et Saeculare New York Public Library, Bruno Walter Auditorium at 2.30pm. Click for more info

 

About Jacqueline:

JACQUELINE HORNER-KWIATEK, mezzo-soprano, was a member of the world-renowned vocal quartet Anonymous 4 from 2000 to 2015. She recorded twelve award-winning CD’s with the group, including American Angels, which twice topped Billboard’s classical music charts. Anonymous 4′s collaboration with composer Christopher Tin, singing the Irish lament Caoineadh on his album Calling All Dawns, with Jacqueline as featured soloist, led to a Grammy for Best Classical Music Crossover Album.

Specializing in early and new music, she has appeared as a guest soloist with many ensembles both in Europe and the U.S., including Ensemble Modern Frankfurt, Ensemble Intercontemporain Paris, Continuum, Ekmeles, Locrian, Washington Bach Consort, St. Thomas Church NYC, and the Folger Consort. Jacqueline has premiered roles in several operas, including Bacchant in THE BACCHAE (John Buller) for English National Opera London, Monk in GAWAIN (Sir Harrison Birtwistle) for The Royal Opera Covent Garden, Jackie Kennedy in JACKIE K (Andrew Lovett) for English National Opera Contemporary Opera Studio, Bleiddwen in WOLF-IN-SKINS, an opera ballet by Gregory Spears and choreographer Christopher Williams for American Opera Projects, and The Overseer in SWEAT for The Center for Contemporary Opera, which premiered at National Sawdust.

Jacqueline is also a voice teacher, maintaining a private studio in New York in addition to being an adjunct Professor of Voice at Fordham University, Columbia University and The Dalton School. She has been a Visiting Artist at Universities all over the U.S., including Mannes School of Music NYC, Georgetown University D.C., Duke University NC and The Catholic University of America giving master classes and lectures. She holds degrees from Queens University Belfast and Columbia University and is currently a Doctoral candidate and a Teaching Fellow at The Juilliard School. Her website is Jacquelinehorner.com.

About Elizabeth:

ELIZABETH WEINFIELD is a viol player, musicologist, and the artistic director of the period ensemble Sonnambula. Active as an independent performance curator, she designs SpectrumHP, a historical performance solo series at NYC’s contemporary music space, Spectrum, concerts of which often include new commissions for old instruments.

Projects have included the first complete recording of Leonora Duarte (1610-1678), a Portuguese converso living in Antwerp, a collaboration with NYTimes photography critic Teju Cole; premières of 18th-century works from Cuba at The Hispanic Society of America in New York and the commission of a dozen new works for viol consort by Princeton University graduate student composers. Notable collaborations include Bacheler Consort, Lionhart, New Vintage Baroque, The New York Consort of Viols,Parthenia, the performance art organization PERFORMA, Trio Coprario, The Sebastians, choreographer Christopher Williams, and opera director R.B. Schlather. She has appeared as viola da gamba soloist with the Yale Schola Cantorum under Masaaki Suzuki and the American Baroque Orchestra.

Elizabeth holds a Master’s degree in music from Oxford University where she studied baroque viola with Judy Tarling and members of the Orchestra of the Age of Enlightenment and viols with the British viol consort Phantasm; she is currently a PhD candidate in historical musicology at the Graduate Center of the City University of New York, where she is writing on 17th-century viol music, patronage, and iconography. Other interdisciplinary endeavors include the design of a baroque plucked strings exhibition at the Yale University Collection of Musical Instruments, articles on musical instruments for The Metropolitan Museum of Art’s Heilbrunn Timeline of Art History, and a new column on historical performance in The Huffington Post. She has taught music at The City College of New York, Stern College/Yeshiva University and Fordham University, and art history at Oxbridge’s L’Académie de Paris and Barnard summer prep. Recent recording credits include Gregory Spears’s Requiem (New Amsterdam Records).