Synopsis:
While the first Germans were landing at Jamestown in 1608 (five glassmakers and three
carpenters, aboard an English ship), composers in Germany were deep in the brilliant
waters of the early baroque Italianate school. A young Heinrich Schütz, one of the greatest
17th century German composers, was preparing to go to law school, but instead went to
study music in Venice a year later with Giovanni Gabrieli. He was not the first to seek an
education in Italy – Hans Leo Hassler studied with Giovanni's uncle Andrea Gabrieli in
1584, and Gregor Aichinger was G. Gabrieli's student beginning around the same time. The
Italian influence was not limited to those who went to Italy for training – Michael
Praetorius, Johann Hermann Schein, and Jacob Praetorius (II) were among those who
soaked up the Italian musical styles without leaving Germany. These composers all
adopted Italian musical forms ranging from madrigals to vocal concertos to huge polychoral
antiphonal works.
The Countertop Quartet, a vocal ensemble comprised of two counter-tenors, a mezzo-
soprano, and a soprano, will explore the music that grew out of this German fascination and
mastery of the Italian compositional styles in the early Baroque period. For this concert,
the group will include five vocalists, joined by a period instrument ensemble of
lute/theorbo, viols, and recorder. Many of the works will be performed as they would have
been heard in the 17th century, with instruments playing some of the voice parts. This
performance will present a slice of German vocal music history around the time of the
Jamestown landing (and a few years before and after), including works by M. Praetorius
(from his 9-volume Musae sioniae published between 1605-1610), Aichinger, J.
Praetorius, Schein, and more.
While the first Germans were landing at Jamestown in 1608 (five glassmakers and three
carpenters, aboard an English ship), composers in Germany were deep in the brilliant
waters of the early baroque Italianate school. A young Heinrich Schütz, one of the greatest
17th century German composers, was preparing to go to law school, but instead went to
study music in Venice a year later with Giovanni Gabrieli. He was not the first to seek an
education in Italy – Hans Leo Hassler studied with Giovanni's uncle Andrea Gabrieli in
1584, and Gregor Aichinger was G. Gabrieli's student beginning around the same time. The
Italian influence was not limited to those who went to Italy for training – Michael
Praetorius, Johann Hermann Schein, and Jacob Praetorius (II) were among those who
soaked up the Italian musical styles without leaving Germany. These composers all
adopted Italian musical forms ranging from madrigals to vocal concertos to huge polychoral
antiphonal works.
The Countertop Quartet, a vocal ensemble comprised of two counter-tenors, a mezzo-
soprano, and a soprano, will explore the music that grew out of this German fascination and
mastery of the Italian compositional styles in the early Baroque period. For this concert,
the group will include five vocalists, joined by a period instrument ensemble of
lute/theorbo, viols, and recorder. Many of the works will be performed as they would have
been heard in the 17th century, with instruments playing some of the voice parts. This
performance will present a slice of German vocal music history around the time of the
Jamestown landing (and a few years before and after), including works by M. Praetorius
(from his 9-volume Musae sioniae published between 1605-1610), Aichinger, J.
Praetorius, Schein, and more.
| Jamestown April 19th and During the Early Music Festival, June 25th |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
Singers & Instrumentalists:
Simon Zaleski is in his sixth and final year of study at the Peabody
Conservatory of Music, as a graduate student working toward degrees in
harpsichord, composition, and musicology. He also holds two BM degrees
from Peabody, in piano performance and composition. As a Baroque and
Renaissance specialist, he has performed on harpsichord, organ, baroque
viola, tenor viol, and recorders with the Peabody Renaissance Ensemble,
Peabody Consort of Viols, Baltimore Baroque Band, Baltimore Shakespeare
Festival, and multiple Peabody Baroque Ensembles as well as on various
student recitals and the Thursday Noon Recital Series at Peabody. He also
sings baritone with the Peabody Singers and is the organist at Hampden Mt.
Vernon United Methodist Church. A recipient of two Provost’s
Undergraduate Research Awards from Johns Hopkins, he also just
completed his master’s thesis on German musica poetica, taking a look at
the background and performance practice of German “rhetorical music.” At
Peabody, he is the musicology TA for Dr. Susan Weiss; and will be leaving
this fall to pursue a Ph. D. in musicology at Duke University, where he was
awarded a University Scholars Fellowship and a James B. Duke fellowship.
Conservatory of Music, as a graduate student working toward degrees in
harpsichord, composition, and musicology. He also holds two BM degrees
from Peabody, in piano performance and composition. As a Baroque and
Renaissance specialist, he has performed on harpsichord, organ, baroque
viola, tenor viol, and recorders with the Peabody Renaissance Ensemble,
Peabody Consort of Viols, Baltimore Baroque Band, Baltimore Shakespeare
Festival, and multiple Peabody Baroque Ensembles as well as on various
student recitals and the Thursday Noon Recital Series at Peabody. He also
sings baritone with the Peabody Singers and is the organist at Hampden Mt.
Vernon United Methodist Church. A recipient of two Provost’s
Undergraduate Research Awards from Johns Hopkins, he also just
completed his master’s thesis on German musica poetica, taking a look at
the background and performance practice of German “rhetorical music.” At
Peabody, he is the musicology TA for Dr. Susan Weiss; and will be leaving
this fall to pursue a Ph. D. in musicology at Duke University, where he was
awarded a University Scholars Fellowship and a James B. Duke fellowship.
Baroque cellist and Viola da Gambist Zane Baker, is currently pursuing a second Masters of Music in
Baroque Cello studying with John Moran at the Peabody Conservatory. A native of Cleveland Ohio,
Mr. Baker received a BM from Cleveland State University, and a MM from Peabody conservatory in Cello
Performance. While at Peabody, Mr. Baker started his Early Music Career playing Viol and Baroque Cello
with the Peabody Viola da Gamba Consort, Renaissance Ensemble, Baroque chamber ensembles, the
Baltimore Baroque Band and has also performed in Opera Vivente’s production of Monteverdi’s Return of
Ulysses, Purcell’s Dido and Aeneas with Peabody Opera, as well as early music master classes by
Ann-Marie Morgan, Catharina Meints, and Ken Slowick.
Baroque Cello studying with John Moran at the Peabody Conservatory. A native of Cleveland Ohio,
Mr. Baker received a BM from Cleveland State University, and a MM from Peabody conservatory in Cello
Performance. While at Peabody, Mr. Baker started his Early Music Career playing Viol and Baroque Cello
with the Peabody Viola da Gamba Consort, Renaissance Ensemble, Baroque chamber ensembles, the
Baltimore Baroque Band and has also performed in Opera Vivente’s production of Monteverdi’s Return of
Ulysses, Purcell’s Dido and Aeneas with Peabody Opera, as well as early music master classes by
Ann-Marie Morgan, Catharina Meints, and Ken Slowick.
John Armato - (lute and theorbo) is completing a Master's degree in early music performance in the lute
studio of Mark Cudek at The Peabody Institute of Johns Hopkins University. Hecompleted his Bachelor's
degree in Classical guitar performance and chamber music from The Peabody Institutein the
studio of Ray Chester. John studied guitar in California with 7 string virtuoso John
Dearman, and GFA winner Martha Masters, and has performed in chamber ensembles
coached by such celebrated artists as John Shirley-Quirck, William Sharp, Ray Cheseter,
Julian Gray, Mark Cudek, Elizabeth Rowe, Richard Stone, Ronn McFarlane, Herbert
Greenberg, and Manuelle Barrueco. John performs regularly with the Peabody
Renaissance Ensemble and Peabody Consort.
studio of Mark Cudek at The Peabody Institute of Johns Hopkins University. Hecompleted his Bachelor's
degree in Classical guitar performance and chamber music from The Peabody Institutein the
studio of Ray Chester. John studied guitar in California with 7 string virtuoso John
Dearman, and GFA winner Martha Masters, and has performed in chamber ensembles
coached by such celebrated artists as John Shirley-Quirck, William Sharp, Ray Cheseter,
Julian Gray, Mark Cudek, Elizabeth Rowe, Richard Stone, Ronn McFarlane, Herbert
Greenberg, and Manuelle Barrueco. John performs regularly with the Peabody
Renaissance Ensemble and Peabody Consort.
| Naomi DeVries Pomerantz (Alto) |
| Chris Dudley (Countertenor) |
| Marjorie Bunday (Mezzo-Soprano) |
| Philip Sherman (Countertenor) |
| Rachel Barham (Soprano) |
