About the Concert — Love Gone Wrong

For over four decades, The Four Nations Ensemble has brought together leading soloists and generational front-runners of period vocal and instrumental performance. The Ensemble presents a special Valentine’s Day celebration with a different take on the usual holiday fare, featuring love songs from the Baroque on the theme of “Love Gone Wrong.”

This performance will be available for one week after the premiere on February 14.

About the Artists — Four Nations Ensemble

Pascale Beaudin, soprano
Andrew Fouts, violin
Loretta O’Sullivan, cello
Scott Pauley, lute
Andrew Appel, harpsichord and director

Through its innovative programming, Four Nations has become a leading presence on the early music scene, performing at such major houses and festivals as the Kennedy Center and Lincoln Center, the Boston Early Music Festival, and New York’s Mostly Mozart Festival, among many others.

Four Nations Ensemble is led by harpsichordist and artistic director Andrew Appel, who studied at Duke University, the Royal Conservatory in Antwerp and the Juilliard School.  He has performed as recitalist at Carnegie Recital Hall, Avery Fisher Hall, Music Academy of the West, the Smithsonian Institution, Italy’s Spoleto Festival and New York’s Mostly Mozart Festival, among others.

Program

A Baroque Valentine’s Day Celebration: “When Love Goes Wrong”

Francois Couperin: Le Dodo ou l’amour au berceau
Barbara Strozzi: Amor Dormiglione
George Frideric Handel: Credete al mio dolo
Michael Haydn: Andante, from Divertimento in C major
Jean-Paul Egide Martini: Plaisir d’Amour
Giuseppe Tartini: Sonata X, Op. 1 for violin and continuo,
“Didone Abbandonata” (Dido Abandoned)
Antonio Vivaldi: Sonata IV in B-flat major, RV 45
Louis-Nicolas Clerambault: “Medea” Cantata for soprano
and instruments

About the Webcast

CameraMusic, the platform for this webcast, is a new initiative developed by the Chamber Music Society of Detroit. Through this series, artists are invited to perform live on camera over the Internet from wherever they are. We are thrilled to partner with them to bring early music into your home. Simply return to this page on the concert day and start the video player at the top of the screen. If you’re having trouble, head on over to Chamber Music Society of Detroit’s website, where they’ve compiled a helpful technical support page. https://www.chambermusicdetroit.org/technical-support

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Past Webcasts

About the Concert – Caractères de la danse

An essential element in the ballroom and on the theater stage, music for dancing is at the heart of French baroque style. Les Délices’ program includes Rebel’s brilliant Caractères de la Danse (a fantasia choreographed for a single virtuoso dancer), a scene from Rameau’s Pigmalion, solo suites for oboe and viol by Marais, and the earthy, rollicking dances of Boismortier’s Ballets de Village.

About the Artists – Les Délices

Les Délices ​(pronounced L​ayday-lease​) explores the dramatic potential and emotional resonance of long-forgotten music. Founded by baroque oboist Debra Nagy in 2009, Les Délices has established a reputation for their unique programs that are “thematically concise, richly expressive, and featuring composers few people have heard of.” ​The ​New York Times​ added, “Concerts and recordings by Les Délices are journeys of discovery.” The group’s debut CD was named one of the “Top Ten Early Music Discoveries of 2009” (NPR’s Harmonia​), and their performances have been called “a beguiling experience” (Cleveland Plain Dealer​), “astonishing” (C​levelandClassical.com​), and “firstclass” (Early Music America Magazine)​.Les Délices made its New York debut before a sold-out audience at the Frick Collection in May 2010. Recent and upcoming performances for the ensemble include Music Before 1800 (New York City), Da Camera Society (Los Angeles), Houston Early Music Society, Early Music Hawaii, Morrison Chamber Music Center at San Francisco State University, Boston’s Isabella Stewart Gardner Museum, San Francisco Early Music Society, the Yale Collection of Musical Instruments, and Columbia University’s Miller Theatre. In addition to touring engagements, Les Délices presents its own annual four-concert series in Northeast Ohio. Les Délices has been featured on WCPN, WCLV and WKSU in Ohio, WQXR in New York, NPR’s syndicated Harmonia​and​ Sunday Baroque​, and had their debut CD featured as part of the Audio-guide for a special exhibit at New York’s Metropolitan Museum of Art (Watteau, Music, and Theater). Les Délices’ fourth CD, ​Songs Without Words,​ was released on the Navona label in November 2018 to critical acclaim.

Program & Notes

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About the Concert

Paul O’Dette, the “dean” of American lutenists, came to his instrument in a perhaps less than usual way – as an electric guitarist playing in rock bands. On a quest to develop his guitar technique, O’Dette began studying classical guitar, which led him to his soul mate, the lute. Now, as a GRAMMY-winning lutenist and one of the defining figures of historic performance practice, O’Dette, who is also Director of Early Music at Eastman School of Music and Co-Artistic Director of the Boston Early Music Festival, may be able to credit his history covering rock guitarists and bands such as Cream, Hendrix, and Led Zeppelin for his unique ability to carefully balance historical awareness and idiomatic accuracy with ambitious self-expression.

On Friday, May 22, O’Dette brings his distinctive and spirited touch to a program of Elizabethan ballads and Scottish tunes, including Anthony Holborne’s variations on “The Gordian Knot” and a ballad tune titled “Lost is My Liberty.” Before the concert, University of Chicago Professor Lawrence Zbikowski, himself a classically trained guitarist, talks with O’Dette about his approach to the instrument and to historical interpretation.

About the Artist: Paul O’Dette, Lutenist

Paul O’Dette has been described as “the clearest case of genius ever to touch his instrument.” (Toronto Globe and Mail) One of the most influential figures in his field, O’Dette has helped define the technical and stylistic standards to which twenty-first-century performers of early music aspire. In doing so, he helped infuse the performance practice movement with a perfect combination of historical awareness, idiomatic accuracy, and ambitious self-expression. His performances at the major international festivals in Boston, Vienna, London, Paris, Amsterdam, Berlin, Munich, Prague, Milan, Florence, Geneva, Madrid, Barcelona, Tokyo, Moscow, St. Petersburg, Buenos Aires, Montevideo, Melbourne, Adelaide, Los Angeles, Vancouver, Berkeley, Bath, Montpellier, Utrecht, Bruges, Antwerp, Bremen, Dresden, Innsbruck, Tenerife, Copenhagen, Oslo, Cordoba, etc. have often been singled out as the highlight of those events.   

Paul O’Dette has made more than 145 recordings, winning two Grammys, receiving eight Grammy nominations and numerous other international record awards. “The Complete Lute Music of John Dowland” (a 5-CD set for harmonia mundi usa), was awarded the prestigious Diapason D’or de l’année and selected as the “Best Solo Lute Recording of Dowland” by BBC Radio 3. “The Bachelar’s Delight: Lute Music of Daniel Bacheler” was nominated for a Grammy as “Best Solo Instrumental Recording of 2006.”  

Mr. O’Dette is also active conducting Baroque operas. His recording of Charpentier’s La Descente d’Orphée aux Enfers with Stephen Stubbs and the Boston Early Music Festival Chamber Ensemble won a Grammy for “Best Opera Recording of 2014,” as well as an Echo Klassik Award in the same category. In 1997 he directed performances of Luigi Rossi’s L’Orfeo at Tanglewood, the Boston Early Music Festival (BEMF) and the Drottningholm Court Theatre in Sweden with Stephen Stubbs. Since 1999 they have co-directed performances of Cavalli’s Ercole Amante at the Boston Early Music Festival, Tanglewood, and the Utrecht Early Music Festival, Provenzale’s La Stellidaura Vendicata at the Vadstena Academy in Sweden, Monteverdi’s Orfeo and L’Incoronazione di Poppea for Festival Vancouver, Lully’s Thésée, Conradi’s Ariadne (Hamburg, 1691) Mattheson’s Boris Goudenow, Lully’s Psyché, Monteverdi’s Poppea, Handel’s Acis and Galatea, Steffani’s Niobe, Handel’s Almira, Campra’s Le Carnaval de Venise, Pergolesi’s La Serva Padrona and Livietta e Tracollo for the Boston Early Music Festival. Six of their opera recordings have been nominated for Grammy awards, including Ariadne as “Best Opera Recording of 2005,” Thésée  in 2007, Psyché in 2008, La Descente d’Orphée aux Enfers in 2014, Niobe in 2015 and Charpentier’s Les Arts Florissants in 2019. Their recording of Agostino Steffani’s Niobe, was awarded a Diapason D’or de l’année, an Echo Klassik Award and the prestigious Jahrespreis der Deutschenschallplattenkritik. Paul O’Dette has guest directed numerous Baroque orchestras and opera productions on both sides of the Atlantic. 

In addition to his activities as a performer, Paul O’Dette is an avid researcher, having worked extensively on the performance and sources of seventeenth-century Italian and English solo song, continuo practices and lute music. He has published numerous articles on issues of historical performance practice and co-authored the Dowland entry in the New Grove Dictionary of Music and Musicians.   

Paul O’Dette is Professor of Lute and Director of Early Music at the Eastman School of Music and Artistic Co-Director of the Boston Early Music Festival.

About the Webcast

CameraMusic, the platform for this webcast, is a new initiative developed by the Chamber Music Society of Detroit. Through this series, artists are invited to perform live on camera over the Internet from wherever they are. We are thrilled to partner with them to bring early music into your home. Simply return to this page on the concert day and start the video player at the top of the screen. If you’re having trouble, head on over to Chamber Music Society of Detroit’s website, where they’ve compiled a helpful technical support page. https://www.chambermusicdetroit.org/technical-support