Cantata Profana Blend Renaissance Drama and Twentieth Century Austerity with Fun and Relevance at Symphony Space Tonight

The lights went down in the disused Roebling Avenue storefront, and then members of Cantata Profana – harpsichordist Daniel Schlosberg, theorbo player Arash Noori, clarinetist Gleb Kanasevich, violinist Jacob Ashworth, tenor Jonathan Blalock and baritone Jonathan Woody – launched into Monteverdi’s brooding kiss-off anthem, Interotte Speranze. What do you do the night before a big Symphony Space gig? Book a Williamsburg show…and pack the place. And then treat a mostly twentysomething crowd to mulled wine, Oreos and a surrealistically edgy, irresistibly fun performance that makes unexpectedly vivid connections between Renaissance vocal music and  Twentieth Century austerity. As if we need more proof that there’s a young, engaged audience that’s clamoring for serious concert music but has been priced out at the establishment venues, this is it. If the idea of pairing hauntingly resonant Webern vocal works with proto-parlor-pop and proto-opera appeals to you, Cantata Profana are reprising last night’s entertainment at Symphony Space tonight at 8 PM; tix are $25/$10 stud.

Cantata Profana are a prime example of how versatility is the new specialization, across the musical spectrum these days: it’s  the revenge of the utility player over the high-priced allstar. The ensemble – a core of singers and players surrounded by a semi-rotating cast – proved as at home with acidic Second Viennese School tonalities as with elegant medieval Italian balladry. The piece de resistance at this show is American composer George Rochberg’s Contra Morten et Tempus, with its hair-raising dynamic shifts and various quotes from Ives, Berio and other contemporaries. Another similarly bracing number on the program is Luigi Dallapiccola’s’ Due Liriche di Anacreonte, a showcase for tersely considered interplay between mezzo-soprano Virginia Warnken Kelsey and among the supporting cast at well. And the juxtaposition between a partita by Renaissance Jewish composer Salamone Rossi, rising from a rather haunting, almost klezmer introduction to more easygoing Mediterranean tones, against the twelve-tone acerbity of Webern, was an example of shared ambition, an unexpectedly smooth segue.

To wind up the bill, the group employs a rather mystical diptych by Guido Caccini to set up Monteverdi’s famous early operatic piece Il Combattimento di Tancredi e Clorinda, sung with appropriate drama by tenor Samuel Levine with support from Woody and scintillating sopratno Emma McNairy (whose raw power, unleashed in the small Williamsburg space, provided the night’s most adrenalizing moments). Like the rest of the earliest music on the bill, it makes an unanticipatedly good pairing alongside the serialist works – it’s hardly arioso, considering that the vocal line doesn’t really move around that much, leaving the cruel irony of the deadly duel between the knight and his crush-in-diguise all the more resonant. Especially in our era of global conflicts which are no less logically twisted.

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A Raptly Thematic Lincoln Center Concert by All-Star Choir Cantus

One of Minnesota-based all-male choir Cantus‘ signature traits is theme programs. As one concertgoer put it, they can get a lot wilder than they were Sunday at Lincoln Center. Then again, this program was part of the spiritually-themed White Light Festival, continuing here through November 11. There are plenty of groups who mine the standard Renaissance repertoire, some who specialize in rediscovering treasures from that era, but Cantus are just as likely to juxtapose the ancient with the most current and make it all flow together seamlessly, and in that respect this was a characteristic performance.

They began with a precise, pulsing, even bouncy take of a twelfth century Perotinus piece, then a more traditional, somberly contemplative one by Josquin Des Prez. With its intricately echoing counterpoint, Randall Tompson’s 1940 Alleluia made a good segue, especially when the group hit an unexpectedly celebratory peak right before the end. In a way, it brought the early part of the concert full circle.

Jumping ahead sixty years to a lush, ambered take of Eric Whitacre’s aptly titled Lux Aurumque, they followed that with a bucolic 1942 nocturne by Swedish composer Hugo Alfven. Negotiating the tricky metrics, sudden dynamic shifts and otherworldly close harmonies of a diptych by Estonian composer Veljo Tormis was no easy task, but the group made it look almost easy. In a choir, the individuals on the low and the top end always end up standing out, and this group was no exception, basses Chris Foss and Samuel Green paired against tenors Paul John Rudoi, Shahzore Shah, Aaron Humble and Blake Morgan. But the midrange benefited especially from the efforts of tenor Zachary Colby and baritone Matthew Goinz; Matthew Tintes, in particular, showed off an unexpectedly far-reaching range for a baritone.

From there they moved through brief works celebrating the comfort of home, or home country, via works by Sibelius, Dvorak, Janacek and Kodaly – the latter being the Hungarian national song, more or less, awash in a warmly consonant harmony that hardly seemed possible, from someone with such a thorny repertoire. It was music to get lost in. The group closed on a much more acerbic note, maybe as to draw the crowd out of their dream state, with a 2006 diptych by Edie Hill and encored by going deep into the 19th century hymnal. Cantus’ current tour continues onward: the next stop along the way is November 13 at 7 PM at Central Christian Center, 5th & Virginia in Joplin, Missouri.

Stile Antico Sing the Renaissance and Beyond

“This is our whistle-stop tour of Renaissance polyphony,” Stile Antico tenor Andrew Griffiths nonchalantly explained at the Church of St. Mary the Virgin last night, the concluding concert of this season’s Miller Theatre early music series. He was being somewhat disingenuous: the self-directed twelve-piece choir (six men, six women), arguably the hottest ticket in early music for the last couple of years, are dead-serious when it comes to their repertoire, but otherwise not very much at all. Griffiths seems to be the most gregarious out of possibly several cutups in the group: the subtext was that the ensemble was here to span their favorite era with a “treasures of the Renaissance” program of relatively short works, some showstoppers, some more somber, with a deliciously unexpected highlight of far more recent vintage.

That was John McCabe’s Woefully Arranged, a new commission by the choir based on a William Cornysh setting of a Christ-on-the-cross text probably dating from the early 1500s. Tense to the breaking point with sustained close harmonies versus rhythmic bursts, it was the darkest and most stunning moment of the night. Quasi-operatic outrage gave way at the end to organlike atonalities so richly atmospheric and perfectly executed that it seemed for a moment that the church’s mighty organ had actually taken over. This group’s blend of voices is especially well-anchored by basses Will Dawes, Oliver Hunt and James Arthur (subbing for Matthew O’Donovan, who had nonetheless provided very useful historical notes for the program), a launching pad for the sopranos, notably Helen Ashby – one of this era’s most electrifying voices, who always gets top billing with this group – but also Kate Ashby (her sister) and Rebecca Hickey, who share a finely honed but penetrating, crystalline style.

The rest of the program was characteristically insightful and otherworldly, that is, when it wasn’t festive, as it was when the group romped joyously through Palestrina’s brief Exultate Deo. After the serene, celestial translucence of Jacobus Clemens non Papa’s mid-1500s Ego Flos Campi, they brought the energy up with the far more lively, rhythmic Laetentur Coeli of William Byrd, from about fifty years later. They soared from plaintive suspense to the exalted anthemic melodicism of Thomas Tallis’ O Sacrum Convivium, then expertly negotiated the labyrinthine counterpoint of another, rather stern Tallis work, Why Fum’th in Fight. The haunting, gothic side of this music was most potently represented via a Spanish piece, Rodrigo de Ceballos’ Hortus Conclusus (Secret Garden), echoed afterward by a smaller version of the ensemble where four members stepped aside, leaving the rest to do a stately take of Sebastian deVivanco’s Veni, Dilecti Mi. The group closed with Pretorius’ famous Tota Pulchra Est, which they very smartly held back from the unbridled exuberance that church choirs typically imbue this piece with: the subtle precision served them especially well when a series of clever echo effects came around at the end. The crowd wouldn’t let them go without an encore, so they obliged with a matter-of-fact take on the hymn Never Weather-Beaten Sail, a track from their latest album Tune Thy Musicke to Thy Hart: Tudor & Jacobean Music for Private Devotion (out now on Harmonia Mundi).

The Miller Theatre holds these concerts at “Smoky Mary’s” on 46th St. rather than at their usual space uptown since the sonics here make such a good fit for the programming, a mix of choral and chamber concerts featuring international touring acts along with some of the creme de la creme of the Gotham early music scene.

An Otherworldly Album and Upcoming Concert from Stile Antico

Pioneering Renaissance choir Stile Antico return to New York this coming Saturday, April 21 for an 8 PM concert put on by the Miller Theatre folks at the Church of St. Mary the Virgin, 145 W 46th St. As of this writing, tix are still available via the Miller Theatre box office (Broadway and 116th St., and online). In case you might wonder how a choir singing five-hundred-year-old motets could possibly be pioneering, you haven’t heard Stile Antico. The self-directed twelve-voice group (they perform without a conductor, in the style of a string quartet) has made a career out of resurrecting obscure and underrated choral works from the 17th century and before then; their concerts are exhilarating. With their blend of male and female voices, they have a gyroscopic sonic balance, an absolutely necessity considering the dizzying and occasionally herculean demands of the music they sing. On their latest album Tune Thy Musicke to Thy Hart: Tudor & Jacobean Music for Private Devotion (out now on Harmonia Mundi), they’re joined on several tracks by noted early music viol ensemble Fretwork.

Thematically, it’s a bit of a change from the towering (and sometimes harrowing) compositions they’ve mined during the early part of their career (although their Advent and Christmas-themed album Puer Natus Est foreshadowed this turn in a somewhat sunnier direction). The works here tend to be shorter and often less ornate – which can mean quieter, and on a couple of occasions, a showcase for individual group voices as the harmonies literally make their rounds. In the case where the choir isn’t going full steam, the sonics are sometimes fleshed out by gentle yet stately string arrangements, along with a small handful of instrumental preludes. The beauty of the performance transcends any specific religious association (although it’s nice to be able to understand the words without having to dig out that old Latin dictionary). A lineup of well-rembered composers is represented – Thomas Tallis, John Dowland and William Byrd, among others – but as usual, the gems here are the rarest ones. The modernity and outright, awestruck dissonances in John Amner’s A Stranger Here are literally centuries ahead of their time; Robert Ramsey’s How Are the Mighty Fallen works a potently quiet, apprehensive counterpoint that threatens to break out into fullscale angst but never does. And Giovanni Croce’s From Profound Centre of My Heart would make a great pop anthem. Throughout the album, the low/high contrasts are characteristically vivid when they’re not so seamless that it seems like one single polyphonic voice is creating these otherworldly sonics, aided by the rich natural reverb of the church where they were recorded. Historically, much of this repertoire has been neglected in favor of better-known works from the church music canon; this is a richly enjoyable and valuable endeavor from two rightfully acclaimed ensembles.

A Christmas Album for Everybody

We finally found a Christmas album we like. Optimistic, anthemic and upbeat, Stile Antico’s new album Puer Natus Est is Renaissance choral music at its happiest and most un-gothic. It’s not particularly Christmasy and it doesn’t evoke images of blazing chestnuts, but it also doesn’t evoke images of catacombs full of dead monks (fans of Joy Division will have to look elsewhere). Subtitled “Tudor Music for Advent and Christmas,” it’s a festive holiday album for everyone, and at this point in history, far removed from its original context, it’s essentially nondenominational unless you speak Latin. It’s a mass that never would or could have happened, spanning the centuries, interpolating segments of Thomas Tallis’ unfinished Christmas mass, Puer Natus Est with selections from William Byrd’s Gradualia, a comprehensive and imaginative series of plainchant arrangements for the various church holidays. The fourteen-piece ensemble – the world’s most popular Renaissance vocal choir – blend voices more soaringly and considerably less hauntingly than on their death-fixated previous cd, the John Sheppard collection Media Vita.

Tallis’ Videte Miraculum makes a good natured “look what we have here,” in Latin, a characteristically rich arrangement lushly performed with a brief, stark solo for tenor. The oldest piece here, John Taverner’s sixteenth century Audivi Vocem de Caelo (I Heard a Voice in the Sky), with its bright high harmonies, may have been written exclusively for the choirboys. A hint of the season reveals itself in Tallis’ Gloria; contrasting austere and warmer folk melodies appear in later Byrd selections: the roots of Fairport Convention! The dramatic major/minor shifts of Tallis’ Sanctus et Benedictus pair off against the mysterious grandeur of Byrd’s Ave Maria; a rousing, anthemic holiday theme finally appears at the end of Tallis’ Agnus Dei. The second-oldest piece here, Robert White’s Magnificat, is the most exuberant, the contrast between the crystalline highs of the sopranos and the charcoal and chocolate of the lower registers at its most striking here. The album concludes with a work by one of the group’s favorite composers, John Sheppard. Translated as the Holy Word, its harmonic complexity and slowly unwinding  resolutions probably make more sense in this century than when they were written practically half a millennium ago. The album is out just in time for the holidays on Harmonia Mundi.

Album of the Day 11/11/10

Every day our 1000 best albums of all time countdown continues all the way to #1. Thursday’s album is #810:

Sacred Music in the Renaissance, Volume 1 – The Tallis Scholars: Finest Recordings 1980-1989

Conventional wisdom is that the audience for Renaissance vocal music is pretty much limited to those who sing it, and who attend churches where it is performed. One look at the crowds who come out for this sort of thing disproves that theory: the appeal of early music transcends everything, including time. This collection is only the second to make its debut at this site on this list. It’s a staggeringly comprehensive five-disc set including some of the most stunning, epic choral works of the Middle Ages as well as an entire cd devoted to the work of seminal British composer Thomas Tallis, for whom the group is named. The Tallis Scholars are hardly the only ensemble to sing these works, but their influence as performers, popularizers and archivists rescuing treasures largely unheard for decades or even centuries cannot be underestimated. Highlights include a surprisingly brisk, vividly energetic performance of John Sheppard’s towering, death-fixated Media Vita and Tallis’ serpentine suite Spem in Alium along with shorter pieces, both iconic and lesser-known, by Palestrina, Allegri, Josquin des Prez, Crecquillon, Cornysh and Victoria. Many are ornate, with harmonies that span several octaves; others are spare and haunting, as one would expect from music made in an era where life was even shorter and more brutish than it is now. Director Peter Phillips made waves and essentially changed the way choral music was recorded by combining the best sections from multiple takes, just as rock albums are made: in twenty years, he’d see his radical innovation adopted by pretty much everyone else in his field. This collection is just out in Fall 2010 and available from Harmonia Mundi.

Stile Antico’s Otherworldly Voices Defy Death in the Heart of Manhattan

Stile Antico’s concert Saturday night at the Church of St. Mary the Virgin in midtown was a vivid illustration of the kind of entertainment found inside the velvet rope in 1550 – or in the death chamber of a composer’s dreams, in 1474. In the earlier case, Guillaume Dufay couldn’t hold out long enough for a choir to be assembled to sing him the dizzying counterpoint of his Ave Regina Caelorum, which he’d written for the hour when he lay dying: the work made its world premiere at his funeral instead. It was a vivid echo of the night’s theme: the world’s most popular early music choir had brought along a series of Renaissance compositions associated with death, in a program optimistically entitled In Paradisum. As much as Stile Antico’s recordings are otherworldly and gripping, this concert was paradise for the ears. And as tenor Andrew Griffiths had explained over the phone a couple of weeks prior, it was hardly all gloom. In medieval Europe, death may have been a far more constant presence than it is now, yet the music the group had assembled was a celebration, albeit one made in the midst of despair. So good to be alive while the whole world is dying.

Stile Antico are conductorless, like a string quartet: members of the ensemble take turns setting the wheels in motion and directing the occasional change. Such an arrangement no doubt not only explains the group’s striking chemistry and collaborative spirit: it makes those qualities prerequisites. William Byrd’s Retire My Soul was the opening piece, one of his final works. The group creatively assembled themselves to allow the call-and-response of its harmonies to pan around the semicircle, creating a stereo effect similar to his well-known organ compositions. Dufay’s requiem for himself was one of three pieces where the ensemble stashed members of the group out of sight to further enhance the sonic spectrum. The most extraordinary portion of the night was the roughly twenty-three minutes of John Sheppard’s Media Vita (centerpiece and title of the group’s album from last spring), a titanically lush, majestic wash of six-part harmony punctuated by disarming, ominous cadenzas whose subtle dissonances added a wary edge that bordered on the terrifying. Soprano Rebecca Hickey led the ensemble from the center of the stage with a seemingly effortless, potently resonant, crystalline clarity. Sheppard, composer at the Queen’s Chapel, wrote it about a year before died in 1558: even today, its ethereal harmonic sophistication is stunning. In the middle of the piece, Sheppard inserted a somber plainchant, perhaps to give his choir a breather, or to enhance the immensity of the finale. After that marathon, an intermission was the only option.

The rest of the program could have been anticlimatic but it wasn’t, as the group explored more diverse emotional terrain. Josquin des Prez’ O Bone et Dulcissime, written to placate a warlord, had a gentler feel, almost a lullaby in places, basses Oliver Hunt and Will Dawes taking on a more prominent role and exhibiting impressive range alongside the tenors and altos. Alto Carris Jones used a similarly striking upper register introducing the fifteenth century Alonso Lobo’s Versa Est in Luctum, somber but with soaring highs, one of many places where soprano Helen Ashby’s diamond-cutter voice carried the crescendos to new summits. While the spirit of the group seems to be a clearly democratic one, if there’s one star here, it’s her – her two sisters in the group, soprano Kate and alto Emma, would probably not dispute that. The concert wound up with the fugal, funereal In Paradisum, a seventeenth century piece by Heinrich Schutz, and the outright anguish of sixteenth century Orlande de Lassus’ Vide Homo, the words of Christ on the cross, pierced equally by the pain of the nails and his followers’ lack of appreciation for what he endured. After three standing ovations, the group rewarded the sold-out pews with a richly warm, comparatively brief Byrd antiphon from their brand-new advent-and-Christmas cd Puer Natus Est. On one level, it was impossible to watch the concert without feeling somewhat vicarious: after all, when these compositions were current, many of those who heard them live were probably also singing them. On the other hand, it was a stunning reminder of how colossally much musicians of the era did with so little, and especially with so little time.

Stile Antico’s Andrew Griffiths Speaks for the Choir

Stile Antico, one of the world’s most popular and exciting choirs, made their New York concert debut less than a year ago at Corpus Christi Church uptown. They’ve topped the Billboard classical charts; toured with Sting; and have been nominated for Grammies twice for their innovative and spirited performances of both rare and iconic sixteenth and seventeenth-century compositions. They return to New York on Saturday, October 16 at 8 PM at the Church of St. Mary the Virgin on 46th St. Andrew Griffiths, tenor in the group, took some time out of his schedule to give us some insight into what promises to be a particularly intriguing concert:

Lucid Culture’s Correspondent: First an obvious question – what is the program you’ll be singing on October 16?

Andrew Griffiths of Stile Antico: It’s called In Paradisum, a program of Renaissance music. All the music is either the last piece that the composers wrote, or a piece that bows out with big questions.

LCC: That’s intense.

AG: Surprisingly, it’s very contrasting. Actually we were all very worried that it was going to be very gloomy. But there’s a lot of upbeat music as well as the intense stuff.

LCC: Your new album, Puer Natus Est (A Child Is Born) is medieval Christmas music. Most of us typically equate Christmas music with a festive, celebratory feel. Is there a festive characteristic to this, or another defining characteristic?

AG: I don’t think that it’s your average seasonal holiday album…Christmas was an important time then as now, as the season approached they certainly pulled out all the stops. This actually has as much to do with Advent as Christmas: you have the waiting for Christmas, the anticipation, and then Christmas itself. There won’t be any music on the disc that will be recognizable as Christmas music to people who don’t know anything from this time period…

LCC: At the October 16 concert, are there specific highlights that the audience should be listening for? Any pieces or passages that are personal favorites of yours?

AG: Personally, and for a lot of us, Media Vita by John Sheppard is actually a huge one. It’s one of the longest pieces from the whole period of Tudor music in England. Sheppard is a composer we’ve done a lot, and something that I feel suits us really, really well. This has amazingly sustained passages in six parts; it’s a bit like running a marathon to perform it.

LCC: I think a lot of people over here don’t realize that choral music in the UK is undergoing a sort of renaissance, with an American Idol/Eurovision style tv show and competing choirs. Is it fair to say that you’re rock stars in the UK?

AG: Not really! I think we’re not terribly well known outside the circle of people who know this music. We feel we’ve done more in the US actually than we’ve done at home. We had a NPR feature at very good moment – we started getting emails from truck drivers in the south telling us that they were listening to this on the interstate. It takes a little bit longer to establish yourself in the UK. We now feel that we’re finding our place at this point.

LCC: Are you aware of the Seraphic Fire phenomenon over here in the US?

AG: Actually not…

LCC: They’re a Florida choir who achieved the unexpected by knocking Lady Gag off the top of the itunes charts: they were actually number one in the nation for awhile. They did it with a wonderful recording of the Monteverdi Vespers of 1610…

AG: How extraordinary! That’s brilliant…I think when people get the chance to listen to this music, it can be a real revelation. A lot of people have never heard of Monteverdi. To think that there are that many people who will listen to two hours of it is really wonderful…

LCC: Is there a single mission behind Stile Antico, by comparison, say, to the Tallis Scholars? Something that makes you stand out from the other well-known early music choirs out there?

AG: I guess in that we don’t have a conductor…that our collaborative way of making music is unique, I think at least in a group of our size. We explore things much like a string quartet would. We have a lot of rehearsals, so when we get into concert we really know the material inside out. If you haven’t got someone to remind you what a certain gesture means, you really have to know what it’s going to be, or else…

LCC: Since you don’t have a conductor, do you have a signal system of sorts between members, for cues? Or is that necessary?

AG: Only at very specific moments – at the very beginning or ends of things. The analogy of the string quartet, with the first violin having everyone come in at the same time, works here. Remember, we’ve been together for ten years and we still have eight of the original twelve members. It’s very, very important to us that the turnover in the group is as little as possible: we have to know how the others work!

LCC: Given the sheer complexity of what you sing, there are bound to be a few glitches here and there. How do you handle mistakes? Do you go to the trouble of recording yourselves and listening back afterward?

AG: We do listen to things afterward. But remember, if someone misses a key, chances are at least two other people are singing, which minimizes it. More disruptive than hitting the wrong note is a rhythmic mistake: potentially much more of a problem. We’ve actually never had a disaster like that. Most of us have sung since age eight or ten so we’re very used to this.

LCC: What is your preparation for shows? You’ll be on your feet singing for the better part of  two hours, most of it without a break, and you have to hit the notes. Do you have a pre-concert ritual?

AG: We rehearse in the afternoon like everyone else…we do gather before we go on, about five minutes before the show and go over what we want to think about…and we try to keep pretty quiet after that to let ourselves concentrate!

LCC: Your sound is seamless, really together as one – there seems to me to be a lot of chemistry in the group. Are there friendships within Stile Antico that extend beyond the concert hall and rehearsal room? Not that I’m trying to dig up dirt or anything…

AG: We are very good friends actually. There are three sisters in the group, and two of us are married. So that helps when we sit down and just talk about what our goals are, and what we are achieving. But the premise from the beginning was that we were keen to keep it a social thing as much as a musical thing and that’s still true today.

LCC: Rock star question: let’s compare Stile Antico to a rock band for a minute, shall we? Is there a dominant personality? A mystic? A class clown?

AG: Various clowns at various times. We all take the lead on different things, and that spills over into how it organizes us. One of us does the travel, another does the website, we try to play to our different strengths. I don’t think there’s a ringleader…

LCC: Does it ever astound you that you’ve achieved popularity with music that, much of it at least, went centuries without being performed?

AG: I think it’s very exciting. We all really feel strongly that we’re not presenting these in pieces, out of context. We’re sort of taking them out of the museum…people think that it’s such a big thing to play and sing, but these are works that were sung and enjoyed by everyday people hundreds of years ago. We rarely speak of dynamics, per se: we speak about the character of the music…we try to find something in it that resonates with us to resonate with other people as well. We find again and again that people are engaging emotionally with our music. You don’t necessarily have to know the rules and understand it in a scholarly way to appreciate it.

LCC: Your album Media Vita, which came out earlier this year, is not only exquisitely sung, it’s also sonically exquisite. I’m curious as to where you recorded it…

AG: We were so lucky to find a special church in North London: All Hallows, Gospel Oak. It’s not a particularly well-known church. If you’re a recording musician, a lot of people know about it, otherwise not. What actually happened with the church is that they ran out of money as it was being built. The columns are in stone, with a wooden roof. It’s acoustically fantastic.

Stile Antico sing a program including pieces from the 15th to the 17th century by William Byrd, Guillaume Dufay, Nicolas Gombert, Josquin des Prez, Alonso Lobo, Heinrich Schutz, and Orlande de Lassus as well as John Sheppard’s massive, haunting Media Vita at the Church of St. Mary the Virgin, 338 W 46th St., on Saturday, October 16 at 8 PM. Tickets are available at the Miller Theatre box office, 116th St. and Broadway, open noon-6 PM Monday-Friday, via phone at 212-854-7799 and online.

For those outside of NYC, the rest of the tour schedule is below:

OCT. 7 – DURHAM, NC – Duke Chapel

OCT. 8 – WASHINGTON, DC – NPR – Tiny Desk Concert (national broadcast)

OCT. 9 – PITTSBURGH, PA – Calvary Episcopal Church/Renaissance & Baroque Society

OCT. 11 – CINCINNATI, OH – St. Peter in Chains Cathedral

OCT. 13 – DURHAM, NH – Johnson Theater/University of New Hampshire

OCT. 15 – CAMBRIDGE, MA -St. Paul Church/Boston Early Music Festival