Welcome to our Fundraising Campaign!
Heartland Baroque: Bound by a passion for playing instrumental music of the 17th-Century, Heartland Baroque members Martie Perry and David Wilson, baroque violins, Keith Collins, dulcian, Barbara Krumdieck, baroque cello, and Billy Simms, theorbo are a dynamic chamber music ensemble made up of early music specialists from all over the United States. Its members hail from California, Indiana, North Carolina, and Maryland, and often perform together in other well-known historically-informed period instrument ensembles around the country. Heartland Baroque endeavors to dive into this musical world with passion and vigor, highlighting the immediacy and technical brilliance, the vivacity and profundity, the lilt, complexity, and spontaneity of these composers. To learn more about Heartland Baroque please visit our website at www.heartlandbaroque.org.
Our Project-The Benevolent Monarch Heartland Baroque is thrilled to be making its debut C.D. recording, “The Benevolent Monarch,” honoring the music and musicians from the House of Habsburg in the 17th-Century. As Holy Roman Emperor from 1637 until his death, Ferdinand III was an outstanding patron of music, and was himself a composer. With this recording, Heartland Baroque celebrates not only the imperial throne, but commemorates the dynasty of musicians for whom Ferdinand himself also had much respect. Works of Venetian composers at the Hapsburg court by Antonio Bertali, Giovanni Battista Buonamente, and Massimiliano Neri will be featured, as well as works from their revered colleague Johann Heinrich Schmelzer, including Schmelzer’s stunning Lamento sopra la morte di Ferdinando III and his Balletto, Die Fechtschule.
Heartland Baroque Artists: Martie Perry, baroque violin David Wilson, baroque violin Keith Collins, dulcian Billy Simms, theorbo and baroque guitar Barbara Krumdieck, baroque cello For more information, please visit our website: www.heartlandbaroque.org
Reasons to Support: When you are considering supporting a fundraising campaign you might ask yourself, “Why should I do this? What is the benefit of helping this group?” The answer is quite simply this: by contributing to our campaign you are helping to support creative and original artistic expression, and an expression by one set of people that is unique in all of the world. Baroque music is vibrant, conversational, and dramatic…full of contrasts of mood, affect, texture, timbre, color, and articulation…the music possesses light, propulsion and a lively energy, along with tension, darkness, and soulfulness. If you enjoy hearing these gorgeous, imaginative, and virtuosic qualities, then you will enjoy the passion of this genre. As a group, we have found a fantastic energy in playing together, and we have a distinctive voice. We absolutely love playing together, and are eager to have more opportunities to reach a wider audience with our playing. We need your help to make this vision become a complete reality. Your contribution is VITAL to us…we are counting on you to help make this campaign and project a complete success. Together, we can make this music come to life! Please join in our creation!
Costs of Recording/Our Budget: There are many expenses that go along with making a recording. Here is how Heartland Baroque will be using the money that is raised from this fundraiser: Production and Engineering: $3,425.00 Editing and Mastering: $1,000.00 Post Production: $1,000.00 Marketing: $1,000.00 Artist Fees: $3,100 Musicians’ Travel: $2,220.00 Venue Rental: In-Kind Musician’s Housing: In-Kind We have an outstanding producer and recording engineer who will be helping us to have a final product that is a joy to hear.
Gifts for your Support: We have some wonderful gifts to offer you as a thank you for your support! These gifts range from a copy of the C.D. to a concert in your own home. You will see these listed when you click on the “Giving Levels” tab above.
Our Work and Preparation: We have spent many hours preparing to make this recording, both in individual and group practice. One of the challenges for our group has been that we all live in different parts of the country, and that we all have busy professional lives. In spite of these challenges, we have been hard at work in planning, and have met several times within the past year; during these intensive project periods we have been able to rehearse the repertoire and perform the program that will be on the C.D. several times in concert. Another one of the reasons for this fundraiser is to ensure that when we meet for the recording, that we will have time to rehearse and perform the program again on another concert before we start the recording process. We also want to ensure that we have plenty of recording days to be diligent and to achieve a high level of artistic excellence, without being rushed.
Other Ways to Help: Giving money is not the only way that you can help us. We need help in getting the word out about our campaign to other folks who might be able to contribute. Every donation, however big or small, is a huge help to us. You can help us get to our goal quickly by helping us to make contact with a wider network.
Please share the information about our fundraising campaign with other friends, family, and colleagues who might be interested. You can use the sharing tools provided by FundingWorks and Fractured Atlas, or share to Facebook, Twitter, and other social media.
Our Bios/Qualifications: Since 1998, C. Keith Collins has performed, recorded, and taught baroque and classical bassoon, curtal, recorder, shawm, and harp with many ensembles in North and South America. He is a founding member of the award-winning shawm and curtal band Ensemble Lipzodes, which specializes in the music of colonial Latin America. Among the many groups he has performed or recorded with are Washington Bach Consort, Tafelmusik, National Cathedral Baroque Orchestra, Chicago Opera Theater, Opera Atelier, Arion Baroque Orchestra, Apollo’s Fire, Mercury Baroque, Echoing Air, Newberry Consort, Folger Consort, Bach Ensemble, and the Grammy-nominated Musik Ekklesia. As a concerto soloist he has appeared with Atlanta Baroque Orchestra, Baroque Chamber Orchestra of Colorado, and Bourbon Baroque (Louisville, KY).
Keith is adjunct instructor in historical bassoon and recorder at Indiana University’s Historical Performance Institute, and also teaches baroque bassoon and curtal at the University of North Texas. He has taught at Tafelmusik Baroque Summer Institute, Indiana University Recorder Academy, and has been guest lecturer at the Indiana Early Double Reed Workshop. He has been a writer for NPR’s early music program Harmonia.
His other interests include the history of Appalachian folk music and the banjo, early American hymnody and the shape-note tradition, and the early history and repertoire of the harp in the UK and Ireland. Keith serves as a board member for the Indiana Raptor Center, a non-profit dedicated to the rescue, rehabilitation, and release of wild birds of prey. He is part of a team that gives public presentations designed to educate the general public about raptor ecology and conservation.
Barbara Blaker Krumdieck, baroque cellist, grew up in the San Francisco Bay Area where she studied cello with Katherine Scott, Mildred Rosner and Thomas Stauffer. She studied baroque cello with Phoebe Carrai at the Conservatory of Music in Hilversum, The Netherlands. Barbara is a member of many chamber groups, including Ensemble Vermillian, which has recorded two CDs of 17th century German chamber music and is currently working on a project of 17th century English music. Barbara and her sister, recorder virtuoso and conductor, Frances Blaker, are cofounders of the North Carolina Baroque Orchestra, which is achieving success in the Southeastern United States.
Heartland Baroque’s founder, Martha Perry, has a vibrant national career as a respected baroque specialist on both violin and viola. Her playing has been called “…ideally realized…taut and loaded with nuance” by the Atlanta Journal-Constitution, and “highly expressive” by the Boston Musical Intelligencer. Martha performs as a principal player with many U.S. period instrument ensembles including the Indianapolis, North Carolina, and Atlanta Baroque Orchestras, Washington Bach Consort, Bourbon Baroque, Three Notch’d Road, Spire Chamber Ensemble, Mallarme Chamber Ensemble, Musika Ekklesia, Bach Collegium Fort Wayne, and ¡Sacabuche!. She earned a Master of Music in Early Music Performance/Baroque Violin at Indiana University, where she studied with Stanley Ritchie and served as the graduate assistant for the baroque orchestra. Martha has been heard in a live international broadcast on Chicago’s WFMT radio, on the early music program “Harmonia,” and on N.P.R.’s “Performance Today,” and has recorded for ATMA Classique, IndieBarock, Edition Lilac, Musica Omnia, Naxos, WFIU, Cedille, the National Cathedral, and Concordia Publishing.
William Simms is an active performer of early music. Equally adept on lute, theorbo and baroque guitar, he appears regularly with Apollo’s Fire, The Bach Sinfonia, The Washington Bach Consort, Ensemble Vermillian and Harmonious Blacksmith. He has performed numerous operas, cantatas, and oratorios with such ensembles as The Washington National Opera, The Cleveland Opera, Opera Lafayette, and American Opera Theatre. Venues include The National Cathedral, The Museum of Fine Arts Boston, The Library of Congress, The Corcoran Gallery, The Kennedy Center and The Barns at Wolftrap. He has toured and recorded with The Baltimore Consort as well as with Apollo’s Fire. His recording with Ronn McFarlane, Two Lutes, was the CD pick of the week on WETA in Washington DC in 2012.
Baroque violinist David Wilson plays regularly with Ensemble Vermillian and Magnificat, and he is a founding member of Archetti, the Galax Quartet, and other ensembles. He teaches violin and chamber music and directs the orchestra at the San Francisco Early Music Society’s annual Baroque Workshop. His interests outside of music include cosmology, zymurgy, and science fiction (and he would love to discover a science fiction novel about a homebrewing cosmologist). In recent years he has performed and recorded classical music of India and the Ottoman Empire with Lux Musica (East Meets West Music and Golden Horn Records), contemporary music with the Galax Quartet (Innova Recordings), and 18th century concerti with Archetti (Centaur Records). He is the author of Georg Muffat on Performance Practice, published by Indiana University Press, and of the article on Georg Muffat in the forthcoming Cambridge Encyclopedia of Historical Performance in Music.
Thank You! Thank you so much for your interest in our fundraising campaign and for your tremendous support! Please consider making a tax-deductible contribution to our project.
Heartland Baroque is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of Heartland Baroque must be made payable to “Fractured Atlas” only. Any contribution above the value of the goods and services received by the donor is tax-deductible to the extent permitted by law.
Learn More: http://heartlandbaroque.org