JORY VINIKOUR & CAROLINE COPELAND – ‘BAROQUE ELEGANCE’
March 18, 2018
Schedule
Date:
Time:
Date of concert: March 18, 2018 at 5:30pm This gorgeous program features Grammy-nominated harpsichordist Jory Vinikour accompanied by Baroque Dancer Caroline Copland.
About
Program
Bio
Jory Vinikour
Jory Vinikour
Bio
Caroline Copeland
Caroline Copeland
Enjoy a gorgeous evening at this Lux Concert featuring brilliant artists, Jory Vinikour (Harpsichordist) & Caroline Copland (Baroque Dancer). Music of Rameau, Handel, J.S. Bach, & Royer will delight you. A suitably elegant after-party follows the concert with canapés & fine wines served.
BAROQUE ELEGANCE: HARPSICHORD & BAROQUE DANCE
JORY VINIKOUR, HARPSICHORD
CAROLINE COPELAND, BAROQUE DANCER
PROGRAM
(Program made be subject to minor adjustments)
Solo Harpsichord
George Frideric Handel (1685-1759). Chaconne in G Major HWV 435
Harpsichord with Baroque Ballroom Dance Forms
Johann Sebastian Bach (1685-1750). French Suite in G Major BWV 816
Allemande, Courante, Sarabande, Gavotte, Bourrée, Loure, Gigue
Solo Harpsichord
George Frideric Handel. Suite in G minor HWV 432
Overture, Allegro, Sarabande & Gigue
Harpsichord with Baroque Theatrical Dance
Jean-Baptiste Lully (1632-1687). Gavotte from Atys
André Campra (1660-1744). Loure from Entrée Espangnole pour une femme dancée par Mlle. Subligny au Ballet de
l’Europe galante
Solo Harpsichord
Jean-Philippe Rameau (1683-1764). Les Cyclopes
Intermission
Harpsichord with Baroque Theatrical Dance
Jean-Baptiste Lully (1632-1687). Chaconne de Galatée
André Campra. Forlana, Le Carnaval de Venise
Solo Harpsichord
Jean-Philippe Rameau. Vouvelle Suites de Piéces de Clavecin in A minor
La Triomphante, Gavotte avec les Doubles de la Gavotte
Harpsichord with Baroque Theatrical Dance
Jean-Baptiste Lully. Entrees 1 & 2, Le Bourgeois Gentilhomme
Sarabande pour une femme
Solo Harpsichord
Joseph-Nicolas-Pancrace Royer (1703-1755). La Marche des Scythes
Born in Chicago, Jory Vinikour studied in Paris with Huguette Dreyfus and Kenneth Gilbert on a Fulbright scholarship. First Prizes in the International Harpsichord Competitions of Warsaw (1993) and the Prague Spring Festival (1994) brought him to the public’s attention, and he has since appeared in festivals and concert series throughout much of the world.
In repertoire ranging from Bach to Poulenc to Nyman, Jory has performed as soloist with the Rotterdam Philharmonic, Orchestre de la Suisse Romande, Lausanne Chamber Orchestra, Philharmonic of Radio France, Ensemble Orchestral de Paris, Netherlands Chamber Orchestra, MDR Symphony Orchestra, Cape Town Symphony Orchestra, Moscow Chamber Orchestra, and the Royal Scottish National Orchestra, with conductors such as Stéphane Denève, Martin Haselböck, Marek Janowski, Armin Jordan, Benjamin Levy, Fabio Luisi, Marc Minkowski, John Nelson, Gordan Nikolic, Constantine Orbelian,, Victor Yampolsky, et al.
Well-known as an accompanist, he has worked extensively with artists such as David Daniels, Hélène Delavault, Vivica Genaux, Magdalena Kozena, Annick Massis, Marijana Mijanovic, Dorothea Röschmann, Rolando Villazon… He has accompanied legendary Swedish mezzo-soprano Anne Sofie von Otter in recitals in Sweden, Norway, Spain and Paris and at La Scala in Milan. With lutenist Jakob Lindberg, their programme of English and Italian music of the 17th century, entitled Music for a While was released by Deutsche Grammophon in early 2005.
As an active exponent of contemporary repertoire for the harpsichord, he has given the premieres of works by composers such as Harold Meltzer and Frédéric Durieux, Stephen Blumberg, Patricia Morehead, Graham Lynch, etc. written for him. He has also given important performances of works by Gyorgy Ligeti and Michael Nyman, as well as several 20th century concerti, including Cyril Scott’s 1937 Harpsichord Concerto, which Mr. Vinikour prepared and edited for Novello editions.
Mr. Vinikour appears regularly as harpsichordist at the finest opera houses and festivals in Europe : Paris Opera, Netherlands Opera, Salzburg Festival, Teatro Real de Madrid, Baden-Baden, Glyndebourne, etc. in Baroque and Classical repertoire, as well as in more contemporary works (notably Stravinsky’s The Rake’s Progress and Zimmermann’s Die Soldaten) and is heard on many recordings from Deutsche Grammophon, EMI, Erato, Sony Classics et al.
His recording of Bach’s Goldberg Variations, released on Delos International in 2001 received excellent reviews throughout the world. John von Rhein of the Chicago Tribune named it as one of 2001’s top ten classical CD’s, an honor that was also accorded to Mr. Vinikour’s recording of Bach’s Toccatas in 1999. Mr. Vinikour’s 2009 Delos release of Handel’s 1720 Suites for Harpsichord has received wide critical acclaim (American Record Guide naming it the finest recording of these works). His debut recording for Sono Luminus, the complete harpsichord works of Jean-Philippe Rameau, was nominated for a Grammy® award, in the category of Best Classical Solo Instrumental Recording in 2013. His follow-up recording, Toccatas (Contemporary American works for harpsichord) received the same honor this year.
Mr. Vinikour has appeared as conductor/soloist with the Hong Kong Philharmonic, Los Angeles Chamber Orchestra, Musica Angelica, Korea Chamber Orchestra, musicAeterna, Juillard415, Alabama Symphony. Jory Vinikour is Artistic Director and co-founder of Great Lakes Baroque in Milwaukee, and is Artistic Director of the early music program at the Rocky Ridge Music Center.
Caroline Copeland has been described as a “dance-provocateur” by the Courier-Journal and “sublime” by the Wall Street Journal. In 1996, she joined the New York Baroque Dance Company and has performed with the troupe throughout the United States and Europe, most notably at the Drottningholm Theater, the International Händelfestspiele Göttingen, Danspace at St. Mark’s Theater, the Guggenheim Museum, and at Potsdam Sanssouci. Caroline has assisted Ms. Turocy in her direction of Rousseau’s Le Devin du Village with Antoine Plante and the Mercury Baroque, as well as Handel’s Atalanta with Nicholas McGegan and the Philharmonia Baroque Orchestra and she recently re-staged Ms. Turocy’s Les Petits Riens on the students of Hofstra University. As a solo performer, Caroline has collaborated with many early music groups around the US and Europe including Quicksilver, The Four Nations Ensemble, The New York Collegium, Brooklyn Baroque, The New Dutch Academy, Bourbon Baroque, and the New York Consort of Viols. And since 2000, Caroline has appeared as a guest artist in 9 productions with the Boston Early Music Festival, co-choreographing two of them: Steffani’s Niobe, Regina di Tebe and Handel’s Almira. Ms. Copeland recently choreographed and perform in the Boston Early Music Festival’s 2017 production of André Campra’s Le Carnaval de Venise.
Caroline often works in opera, theatre, and university settings where her love of history and dance informs her creative and teaching practices. Her past creations include: Handel’s Alcina for Bourbon Baroque (Director/Choreographer). Stravinsky’s A Soldier’s Tale at Hofstra University (Direction/Choreography), Rousseau’s The Cunning Man and Stravinsky’s A Soldier’s Tale at Cornell University (Choreography), and Attowell’s Frauncis New Jigge at Yale University (Direction/Choreography). Other work has been presented at the historic Federal Hall, The Metropolitan Museum of Art, The Public Theater, Dixon Place, and the Philipszaal in the Hague. Most recently, Caroline
Caroline has taught master classes in baroque dance and gesture at numerous colleges and universities including NYU Gallatin, Rutgers, Cornell, Yale, and Vassar and has presented her programs on Shakespeare and the Dance and George Washington Loves to Dance! at elementary schools across the US. Caroline earned a MFA in Dance from Sarah Lawrence College and is an Adjunct Professor at Hofstra University where she enjoys teaching classical ballet from a historically informed perspective as well as Dance History.
Caroline continues to keep both feet in the worlds of early and contemporary dance practice. As such she has been creating choreographies that integrate text from period treatises and memoirs. Her newest solo, An Analysis of Beauty is a virtuosic display of baroque and contemporary dance technique based on Louis Pécour’s 1713 choreography, The Passacaille from Armide.
