TOUTES SUITES, ensemble for early music, directed by Marianne R. Pfau,

presents

The Catholic Mysteries: Music of Biber, Rosenmuller, Froberger and J. M. Muller

Spring 2008

Our Slogan: Music from Page to Stage

Our Musicians:

Soprano Anne-Marie Dicce is a soloist throughout North America and Europe, most recently in Mexico City with the Bach Collegium San Diego. Since 2004, she sings in Germany at the annual Bachakademie European Music Festival in Stuttgart under Helmuth Rilling. Works included Bach Mass in B Minor, Mozart Mass in C Minor, Mendelssohn Elijah, and Britten War Requiem. She will appear as a soloist in the Mass in B Minor with the Bach Collegium San Diego 2008. She is also a member and soloist with Cappella Gloriana, a San Diego-based professional chamber choir.

Ms. Dicce has performed in the Agora Festival of New Music in Paris, the Los Angeles Philharmonic’s Green Umbrella New Music series, Red Fish Blue Fish percussion ensemble, Festival Ensemble Stuttgart, Sinatra Opera Workshop, St. Paul’s Cathedral Choir, Sacramento Opera, and in past seasons with the La Jolla Symphony Chorus. She is a soprano section leader at St. James-by-the-Sea Episcopal Church in La Jolla and has been a featured soloist in the renowned St. James Music Series.

Equally at home with contemporary music, she enjoys premiering works by her colleagues and professors. She is featured on an upcoming recording of music by Roger Reynolds and just released a CD on the Tzadik label with works by Derek Keller. Anne-Marie is a Doctor of Musical Arts Candidate at the University of California, San Diego, where she also teaches. She studies with Carol Plantamura and holds an M.A. from UCSD and a B.A. in Music from Loyola Marymount University. She is currently working on her doctoral thesis which includes research in synaesthesia and the connection between early and contemporary vocal music techniques.

Born in Hamburg, Germany, Inga Funck grew up in a musical family and played recorder from early childhood. She studied historical recorders and flutes with Peter Holtslag at the Hochschule für Musik und Theater, Hamburg, and participated in many workshops throughout Europe. Funck has been featured in solo performances and period instrument ensembles in Germany, Austria, Hungary, Denmark, and the Netherlands. Aspiring to find a balance of appreciating the past while engaging the present, she sets high standards in the authenticity of her early music performances and at the same time is expanding the musical dimension of the recorder into modern days. Prior performance with members of the Los Angeles Philharmonic have included the contemporary piece by György Kurtág, Quasi una fantasia, and she was recently heard as a member of Les Folies, a recorder ensemble, playing at the Microfest at REDCAT. Funck also concertizes with Musica Angelica, the Los Angeles Baroque Orchestra, Los Angeles Musica Viva, South West Chamber Music, and the Los Angeles Chamber Orchestra, and can be heard on recordings with Ensemble de' Medici. She is adjunct faculty at the California Institute of the Arts and teaches private lessons.

Cellist John Lutterman has given solo recitals in New York, Washington, Basel, The Hague, Munich, Salzburg, Vienna, Innsbruck and Linz, offering the Bach Cello Suites and the works of Brahms and Chopin for Cello and Piano.  He is principal cellist of the Apollo Baroque Orchestra and the Capella Sacra, Salzburg, and has performed with American Bach Soloists, Philharmonia Baroque, Magnificat, Jubilate and Archangelli Strings.

Mr. Lutterman holds a Ph.D. in musicology from UC Davis, a DMA in Cello from the SUNY-Stony Brook, and an MM from the Mannes.  His dissertation is on composition and improvisation in the 18^th century. Mr. Lutterman teaches at UC Davis, and has served on the faculty of Lawrence University, the Wisconsin Conservatory, the Knox School, the University of the Pacific, and SUNY Stony Brook. 

Harpsichordist Takae Ohnishi graduated from Toho Gakuen School of Music in Tokyo, and has performed extensively in Japan and the U.S. as a soloist, chamber musician and continuo player. As a lecturer, she participated in the series “Historical Performance Practice,” recorded and published by Tokyo’s Muramatsu Gakki company. She is a prizewinner at the International Early Music Harpsichord Competition in Japan. Her first solo CD “A Harpsichord Recital” was selected as an International Special Prized CD in the Japanese music magazine Record Geijyutsu in 2002. In 2004, she was featured soloist at the prestigious Ishihara Hall 10th Anniversary Concert series. She has also performed at the Fukuoka Early Music Festival as well as Japan Early Music Performers series.

Ms. Ohnishi is an interpreter of both Baroque and contemporary music. As a specialist in Baroque music, she recently performed the Brandenburg Concerto and Bach’s harpsichord Concerto as a soloist with both the Hingham Symphony Orchestra conducted by Jin Kim and the Boston University Baroque Orchestra conducted by Martin Pearlman. She has also appeared as a soloist at recitals and concerts at MIT Chapel, King’s Chapel, Swedenborg Chapel and the Boston Early Music Festival, and was continuo player with Pro Arte Chamber Orchestra of Boston and Hingham Symphony Orchestra. As an interpreter of new music, Ms. Ohnishi appeared as a guest artist at the Summer Institute for Contemporary Piano Performance held at the New England Conservatory of Music. She also performed contemporary music with the Harvard Group for New Music and the Callithumpian Consort. Ms. Ohnishi holds a Master of Music degree from the New England Conservatory of Music and is completing a Doctor of Musical Arts degree at Stony Brook University. Her teachers include Arthur Haas, Peter Sykes, John Gibbons and Chiyoko Arita.

Her recent recital tour in Japan was broadcast nationally on NHK TV in 2006. In 2007, she performed a solo recital “All D. Scarlatti Program” at the Boston Early Music Festival and the complete Brandenburg Concertos at the Gardner Museum in Boston. Since 2007, she is Lecturer of Harpsichord at the University of California, San Diego.

Oboist Marianne Richert Pfau is Professor of Music History at the University of San Diego, where she teaches music history and literature and directs the Angelus Sacred Early Music Series. As baroque oboist and recorder virtuoso, she performs with American Bach Soloists, Jubilate, and California Bach Society in San Francisco, LA Baroque Orchestra, Musica Angelica and Corona del Mar Baroque Festival in Los Angeles, Trinity Consort in Oregon, and San Diego Bach Collegium. In Europe she plays with Musica Alta Ripa, Corona Musica Kassel, and Cythara Ensemble Hamburg.

M. Pfau studied historical wind instruments at the Hochschule für Musik und Kunst in her native Hamburg, music therapy at the Guildhall London, and earned her Ph.D. in musicology at Stony Brook University in New York. She has published Hildegard von Bingen's Symphonia. Her monograph Hildegard von Bingen: Der Klang des Himmels with Stefan Morent, Boehlau 2005, has garnered enthusiastic reviews on both sides of the Atlantic. Two recent recordings with her ensemble ‘toutes suites’ are: Georg Philipp Telemann. Der getreue Music-Meister: A Musical Journal of 1724, on Virtilia, recorded in Hamburg January 2007; and Jean Michel Muller. XII Sonates a un Hautbois de Concert (1710), on Genuin Leipzig, recorded in Hamburg June 2007 (release January 2008).

Violinist David Wilson David Wilson has performed extensively with period instrument ensembles in the United States and Europe. An avid chamber musician, he has played with the Baroque Northwest and Magnificat, and he is a founding member of Florilegia, the Galax Quartet, Aurora Baroque, and other ensembles. A co-founder of the Bloomington Early Music Festival, he also performs regularly at the Boston Early Music Festival, the Berkeley Early Music Festival, and the San Luis Obispo Mozart Festival. He has taught baroque violin at Indiana University, where he earned the Doctor of Music degree in Early Music, and he holds degrees in violin from Bowling Green State University in Ohio and The Catholic University of America in Washington, D.C. His interests outside of music include cosmology, zymurgy, and science fiction (and he would love to discover a science fiction novel about a home brewing cosmologist). He is the author of Georg Muffat on Performance Practice, published by Indiana University Press.