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“... an artist who transcends authenticity to enter the
universal...his technique is flawless... his understanding of different
styles utterly convincing.”
On the first Cordaria recording - of Sonatas by Vivaldi - Walter Reiter is joined by the Israeli harpsichordist Shalev Ad-El, whose solo career includes a much-praised CD of music by Bach for Chandos Records, Katherine Sharman, widely known as a continuo player, soloist and chamber musician, and Linda Sayce, also an internationally-known continuo player and a founder member of the continuo group charivari agréable. The second Cordaria recording - the Biber Mystery Sonatas - involved seven performers: Timothy Roberts studied Music at Cambridge University and at the Guildhall School of Music in London, where his harpsichord teachers were the late Christopher Kite and Jill Severs. For a number of years he has been principal continuo with the Gabrieli Consort and Players. Active as a soloist and chamber musician, Tim also directs several groups, including His Majestys Sagbutts and Cornetts and his own ensemble Invocation, dedicated to reviving lesser-known British vocal chamber music. Tim has published many editions of 17th-19th-century music, most recently Restoration song anthologies for OUP and Fretwork Editions. Elizabeth Kenny has established herself as one of Europe’s foremost lute players. Her solo repertoire ranges from the renaissance to the 18th century, and she is in great demand as a continuo player with many leading period ensembles (Orchestra of the Age of Enlightenment, Les Arts Florissants, The Gabrieli Consort) and with chamber music ensembles (The Greate Consort, Concordia, L’ensemble Orlando Gibbons (France) and Cordaria). Her CD of songs with Robin Blaze was ‘one of the most outstanding recitals of its kind on disc’ (Gramophone). Elizabeth is professor of lute at the Royal Academy of Music, London, and at the Hochschule der Künste, Berlin. Joanna Levine is a versatile performer on the cello, viola da gamba and violone. She is a member of the viol consort Concordia, with whom she has made numerous recordings, including the Gramophone award-winning disc of Purcell viol fantasies. She is much in demand as a viol soloist in the Bach Passions, and the Times critic wrote, ‘For the power of sheer non-verbal expression, Joanna Levine’s viola da gamba solo... took some beating’. Frances Kelly read music at Cambridge University, and studied the harp under Phia Berghout. Her repertoire extends from the Middle Ages to the present day, and her recordings include Mozart’s Concerto for flute and harp (with the Academy of Ancient Music), Handel’s harp concerto (with the Brandenburg Consort), and Britten’s ‘Ceremony of Carols’. Increasingly involved in exploring early harps and the use of the harp as a continuo instrument, Frances is much in demand with leading early music groups, including the English Concert, Gabrieli Consort, and the New London Consort, and in productions of early opera. One of Britain’s leading ambassadors for the viol, Mark Levy is best known as director of the viol consort Concordia, with whom he has made numerous highly-praised CDs, including a complete Gibbons series. Mark is a visiting Lecturer at Southampton University and has taught on numerous courses including Dartington International Summer School. Kah-Ming Ng, an experienced and talented keyboard player, is best known as director of the innovative period instrument trio Charivari Agréable, which also records for Signum Records. Cordaria's third disc - Un'alma Innamorata - involved five new musicians to the group's recording line up:
Lynda Sayce read music at Oxford and studied lute with Jakob Lindberg at the Royal College of Music. She performs worldwide with Charivari Agreable, of which she is a founding member, the New London Consort, the Academy of Ancient Music, and the King’s Consort. She has contributed articles to Early Music, the revised New Grove Dictionary of Music, and the art journal Apollo. She is currently writing a history of the theorbo, to be published in 2003-4. Katherine Sharman was born in New Zealand, and studied with Tanya Prochazka, Steven Isserlis and Jennifer Ward-Clarke. She performs a wide variety of solo and chamber music and plays principal cello with The King’s Consort, the Academy of Ancient Music, The Sixteen and the Gabrieli Consort. Paula Chateauneuf, one of early music’s leading lute and early guitar players, performs with many of the finest early music ensembles: the New London Consort, the Gabrieli Consort, the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, and Le Concert des Nations. She has recorded for Decca, EMI, Deutsche Grammophon, Hyperion, CRD and Virgin Classics. Jan Walters performs on a range of harps from medieval to modern, with special emphasis on continuo accompaniment. She has performed and recorded with The Consort of Musicke, Tragicomedia, Red Byrd, The Gabrieli Consort, The Sixteen, and The Purcell Quartet, and her group Musica Fabula has three CD releases on ASV. |
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Walter
Reiter founded Cordaria in 1999, primarily to perform and record the
violin repertoire of the 17th and 18th centuries, and their first CD for
Signum Records, a premier recording on period instruments of Vivaldi’s
Violin Sonatas Op 2, was internationally acclaimed. His previous
recordings had included the ‘Recreations’ of Leclair for Addes,
France, and sonatas by Mondonville for Meridian. Walter has played solo
recitals in France, Germany, Austria, Israel, England and Canada, has
given numerous masterclasses, teaches regularly in Israel, and is a tutor
in the Early Music project at the University of Birmingham. He is also
active as a conductor, and is Musical Director of the Linden Baroque
Orchestra and Choir in London, with whom he recorded a CD of music by
Fasch.
Born in England of Polish-Viennese Jewish parents and brought up on the
wild Atlantic coast of Ireland on a diet of Mahler and Irish music, Walter
Reiter learned the violin with his mother, who had never studied it, but
came from a musical family and knew how it should sound. He studied Music
and Drama at Glasgow University, graduated in violin from the Royal
Academy of Music in London, and continued his studies under Ramy Shevelov
in Tel Aviv and Sandor Vegh in Germany, After working in symphony and
chamber orchestras, including the Menuhin Festival Orchestra, in a string
quartet, a Bluegrass band, contemporary music groups in Paris and a
cabaret in Pigalle, and in the Jerusalem Conservatory, where he taught a
class of talented children, his love for the music of the 17th and 18th
centuries brought him to the study of ‘authentic’ performance practice
on period instruments, and this has been his passion ever since.
Canadian
soprano Linda Perillo has been acclaimed in North America, Europe
and further afield, as one of the great Baroque sopranos of her
generation. She has performed throughout North America both with period
instrument groups such as Tafelmusik in Toronto and the San Francisco
Philharmonia Baroque Orchestra, and with symphony orchestras including the
Montreal Symphony Orchestra, the National Arts Centre Orchestra (Ottawa),
the Edmonton Symphony Orchestra, the Winnipeg Symphony Orchestra, and the
C.B.C., Vancouver Orchestra. Her career in Europe includes performances
and recordings with Trevor Pinnock, Paul McCreesh, Hermann Max, and
Phillipe Herreweghe, and concerts with Jean-Claude Malgoire and Ton
Koopman. Her operatic appearances include Purcell’s King Arthur with Harry
Christophers, Tolomeo with Howard Arman, and Handel’s Acis and Galatea
with both the Wiener Akademie and Opera Atelier. She appears frequently
with The Israel Camerata, has sung in festivals in the Netherlands,
Belgium, Poland, Croatia, and the Phillipines, and has appeared with
Cordaria in festivals in the UK and Europe.
