Archive for February, 2012


Karsten Moran, Photographer

February 22, 2012

Right before the February 11th concert, a wonderful photographer took these two shots (below).  Karsten Moran was extemely professional and personable.  If you are looking for a good photographer, send him a note at!!


Duet with Drew Minter

February 21, 2012

On February 11th, while performing in Artek’s Rosenmuller Vespers, I had an opportunity sing a great duet, “O Admirabile Commercium” with a wonderful counter tenor Drew Minter.  He has a beautiful voice. Below is a picture of the two of us singing.


ARTEK presents an Interview with RYLAND ANGEL

February 12, 2012

Elizabeth Lesar, of Artek, recently interviewed me.  Here is the interview:

Q – Gwen (Artek Director) mentioned to me that you were really the catalyst for ARTEK’s recording last year of Rosenmueller’s works, which led to these upcoming concerts this Friday and Saturday.  Tell us about what led to your interest in Rosenmueller.

A – I really like German Baroque music. I’ve sung a lot of Bach, and recently I’d put out an album of Buxtehude cantatas with Rick Erickson and the Trinity Bach Players in New York City.  It’s called “Freud und Lust”, after the cantata “Jesu Meine Freud und Lust.”  After doing this, I was researching other projects of German Baroque music, and I found these Rosenmueller cantatas that were really stunning.  I’d recently joined ARTEK and Gwen was interested in performing different programs; I came across these cantatas while researching new recital programs.  So I approached her with the idea and showed her some of the scores.  We then thought it would be nice to make it an ARTEK project, and so Gwen invited Barbara to be part of it, and  also the ARTEK orchestral musicians.  It was great fun performing them in the midtown Concert Series last year.  I was very fortunate to record some of the Rosenmueller cantatas with Gwen and Barbara Hollinshead last summer, and these cantatas will be performed this Friday.

This program of the Rosenmueller Vespers is a great example of what Gwen does. She has put together a wonderful set of music that will appeal to both the seasoned listener and also people who don’t know much about Baroque music.

Rosenmueller, although lesser known than Bach or Buxtehude, has written some fine music. It was wonderful in the rehearsal yesterday when ARTEK as a group was reading through the different movements of the Rosenmueller Vespers, and we were all just so thrilled.  His use of certain harmonies and chord progressions – things which I really hadn’t heard – it’s really fascinating.

I’m not aware if this is the American premiere of the Rosenmueller Vespers, but we’ve done some research and we’ve not come across any other American performances of it.

There are some very scholarly people in ARTEK – Charlie Weaver, Grant Herreid, all these people – for me as a singer and performer, it was wonderful to see and hear this music appeal to everyone there, regardless of whether they were scholarly or not.

Q – When will the Rosenmueller CD be released?

A – I believe very soon.  You have to ask Gwen.  We recorded it at Drew University Concert Hall – it has a beautiful acoustic and not a lot of background noise.

Q – What are some of the differences in approach you’re using if any between your performances in the solo cantatas versus the larger ensemble pieces?

A – Well, the singers of ARTEK are primarly soloists, so that the way we sing in an ensemble is the same way that we sing in solo work.  We have individual voices and interpretations and they all work together with the other singers.  The ensemble pieces on Saturday also include various soloistic moments.  On Friday it’s three cantatas; I find that personally I like to be as much emotionally invested in the ensemble singing as the solo singing.  I have some beautiful little solos on Saturday, too.  In the bigger movements, there are some solo sections.

Q – I’ve been hearing all week about the challenge of singing in Venetian Latin.  What are your feelings about it?

A – Well, Gwen really wants to do things right.  She has a fascination with doing historically informed performances.  We’re doing a style of Latin which quite frankly people aren’t used to hearing.  We simply do the best we can, and obviously we weren’t around at the time, but we look at all the research.

Q – Is there any particular adjustment you’re making in your voice for pitch considerations?

A – As long as the pitch difference isn’t too drastic, it’s just a lot smarter not to think about it.  Well, you have to think about it, but it’s best not to obsess about it.


Winter Minifest

February 9, 2012

,ARTEK, Gwendolyn Toth, director presents:


His personal life was a scandal, yet his music was sublime. Come hear the music of Johann Rosenmüller that continued the glorious tradition of Gabrieli, Monteverdi, and Cavalli at St. Mark’s Cathedral in Venice.

February 10 & 11, 2012 St. Ignatius of Antioch Church 552 West End Avenue,  New York City

PART ONE: Friday, February 10 at 8 pm

Haunting and heartfelt solo cantatas and instrumental music by Rosenmüller, predecessor of Bach at Leipzig! Pre-concert lecture at 7 pm by Sara Ruhle Kyle, concert at 8 pm.

Performers: Barbara Hollinshead, mezzo-soprano; Ryland Angel, countertenor; Cynthia Freivogel, violin; Vita Wallace, violin; Theresa Salomon, viola; Marka Young, violin/viola; Motomi Igarashi, violone; Daniel Swenberg, theorbo; Gwendolyn Toth, director & organ

PART TWO: Saturday, February 11 at 8 pm

A large-scale event: festive and sublime 17th-century Vespers music in the grand Venetian style, as written for St. Mark’s Cathedral in Venice! Singers, strings, cornetti, sacbuts, winds, and continuo, with guest artists from Piffaro, the Renaissance Band. Pre-concert lecture at 7pm by Susan Hellauer of Anonymous Four.

Performers: Laurie Heimes, soprano; Barbara Hollinshead, mezzo-soprano; Ryland Angel, countertenor; Drew Minter, countertenor; Philip Anderson, tenor; Michael Brown, tenor; Charles Weaver, baritone; Peter Becker, bass-baritone; Cynthia Freivogel, violin; Vita Wallace, violin; Theresa Salomon, viola; Marka Young, viola; Motomi Igarashi, violone;Michael Collver, cornetto; James Miller, cornetto; Michael Holmes, sacbut; Erik Schmalz, sacbut; Mack Ramsey, sacbut & cornetto; Joan Kimball, dulcian; Robert Wiemken, dulcian; Christa Patton, harp; Grant Herreid, theorbo; Daniel Swenberg, theorbo; Dongsok Shin, organ; Gwendolyn Toth, director & organ

TICKETS:  $40 regular/$20 rear seating. Students & seniors: $30 regular/$10 rear seating.

To purchase, call GEMS (212) 866-0468 or online at Visit for more information



strings, basso continuo, historical brass and winds. With members of Piffaro , The Renaissance Band.








































Johann Rosenmüller, though born in Germany, worked in Venice as one of the successors of Monteverdi. His vespers music is equally glorious to


Music of Johan Rosenmuller

February 5, 2012

I wanted to let you know of a performance I have on Friday night.  The following is on the, Gotham Early Music Scene website.


Music of Johann Rosenmüller February 10-11, 2012 St. Ignatius of Antioch Church 552 West End Avenue at 87th Street Manhattan

Solo Cantatas and Instrumental Music Friday, February 10, 2012 at 8 pm Featuring Barbara Hollinshead, mezzo-soprano; Ryland Angel, countertenor; Cynthia Freivogel, violin leader

Vespers in the Grand Venetian Style Saturday, February 11, 2012 at 8 pm Eight singers, strings, historical brass and winds. With members of Piffaro and guest Michael Collver, cornetto

Johann Rosenmüller, though born in Germany, worked in Venice as one of the successors to Monteverdi. His Vespers music is equally glorious to Monteverdi’s on a grand scale, and his smaller scale music displays some of the finest instrumental virtuosity and melodic fluidity of the 17th century. Pre-concert lecture (included in ticket price) and other related events (Chant Camp with Susan Hellauer of Anonymous 4) will be announced at a later date.

Come out of the cold Friday night and join us!!