In the Wake of Corelli: 18th-century Italian music for viola da gamba and Baroque lutes.
Duo Maresienne (Carol Lewis, viola da gamba; Olav Chris Henriksen, Baroque lutes) perform
late Baroque and early classical works by Corelli, Zamboni, Mascitti, Fontanelli, and others.
From the Parlor to the Blue: the Guitar in America 1776-1930.
Olav Chris Henriksen performs music from the early days of English and Spanish guitars to the dawn of jazz and slide guitar styles, including works by Coupa, Buckley, Holland, Bickford, Lang, Tampa Red and others.
Semper Dowland, Semper Dolens: Music of John Dowland.
Michael Collver, countertenor, and El Dorado Ensemble (Carol Lewis, Janet Haas, Mai-Lan Broekman, Paul Johnson and Alice Mroszczyk, violas da gamba; Olav Chris Henriksen, lute) perform consort songs, Lachrimae, lute solos and other works by Dowland.
The Royall Harp Consort: Music by William Lawes and his Contemporaries.
Works by Lawes, Butler, Jenkins, Hely, Lawrence and others, performed by Barbara Poeschl-Edrich, harp; Lisa Brooke, violin; Olav Chris Henriksen, theorbo and lute; Carol Lewis, viola dagamba.
Terpsichore: Renaissance Dance Music from Northern Europe.
El Dorado Ensemble (Carol Lewis, Janet Haas, Mai-Lan Broekman, Paul Johnson and Alice Mroszczyk, violas da gamba; Olav Chris Henriksen, lute and cittern), perform a Mother’s Day concert of instrumental fantasies, dances and solos by Praetorius, Moritz Landgraf von Hessen, Widmann, Cato and others.
All concerts take place at the Somerville Museum, One Westwood Road (at Central St.), Somerville, MA, and begin at 3:00 p.m. For further information, call (617) 666-9810. Admission is $17 for the general public, $12 for students, seniors and Museum members.
The Somerville Museum is supported by a grant from the Massachusetts Cultural
Council and by generous contributions from the membership of the Somerville
As to the playfully tumbling arpeggios that came from Olav Chris
Henriksen’s guitar, and the burnished sound and sense of fantasy
Carol Lewis loosed from her viola da gamba – was this class or not?
/THE BOSTON GLOBE
I was impressed by Henriksen’s powerful and vibrant technique. He seems to
get a lot more volume out of his instrument than most players, but without
/ lute society of america quarterly
Henriksen’s technical and musical accomplishments in the solos, as well as
in the ensemble pieces, were remarkable. The listeners witnessed a performance
which was perfectly transparent in tone and consistently correct
/ basellandschaftliche zeitung, switzerland
The audience had to pay quiet attention to hear the melodic and
vocal craftsmanship of Henriksen’s artistry...It was wonderful
to hear the continuo part realized by gambist Carol Lewis and
theorbo performer Henriksen...Lewis gave a fine, consistent,
clearly voiced bass line to all the works to which she contributed
throughout the concert...There was a fine balance between the theorbo
/ the lexington minute man
By the end of her recital, Carol Lewis had instilled in this
listener a heightened regard for the viola da gamba – that
rich, protean instrument she plays so winningly...How lucky
[Hume and Corkine] were in having so zestful and passionate
a champion as Carol Lewis.
/ the boston globe