Our name is inspired by the shell of the sea creature resembling the scrolls of our viols.
We are a consort devoted to performing Renaissance period music on instruments replicating viols of the mid-16th Century.
RENAISSANCE VIOLS
WHAT MAKE THEM UNIQUE
DESIGN
They have all-gut strings, no sound post, and a different renaissance bow hold/technique.
SOUND
The sound is lighter & reedier. Played together as a consort, results in a clearly defined polyphonic sound.
RENAISSANCE vs 17TH CENTURY VIOL
The sound contrasts from the deeper, louder, and more velvety sound of the later 17th C. style viols typically used.
OUR MUSICIANS
Kenneth Bé
Kenneth Bé, performing lute music since 1974, has performed in the Boston Early Music Festival and duet recitals with Ronn McFarlane. After playing music of early plucked musical instruments from the first known lute tablatures of the late 15th century through the twilight of the lute in the late 18th century, Kenneth has become interested in the viol and its earlier repertoire, especially the viol of the 16th C. Professionally he is the museum conservator for The New York Historical [Society].
LuGene Bé
LuGene Bé grew up in Grinnell, Iowa and majored in vocal music at the University of Iowa. More recently she has focused on instrumental early music, playing the renaissance and baroque flutes, baroque violin, renaissance and baroque treble viola da gamba, and rebec. In the New York City area LuGene has sung with Canticum Novum, played with New York Continuo Collective, and the renaissance viol consort, Nautilus, who has performed with visiting guest artist from England, David Hatcher. She also serves on the board of Gotham Early Music Scene (GEMS) in New York City.
Motomi Igarashi
Ms. Igarashi is a ubiquitous presence in the NY early music scene. A first prize winner at the Aspen Music Festival Double Bass competition, Ms. Igarashi studied double bass with Eugene Levinson at the Juilliard School, in addition with Franco Petracchi and Duncan McTier. After graduating from the Juilliard studied viola da gamba in France and spent years in intensive study with Marianne Muller, Wieland Kuijken, and Paolo Pandolfo, and most recently studied lirone with Erin Headley. She plays the viola da gamba, violone, the baroque double bass and lirone with various groups such as The American Classical Orchestra, Anima, Artek, Bach Collegium Japan, the Concert Royal, Dryden Ensemble and REBEL, Orchestra of St. Lukes, Trinity Baroque Orchestra, both on the East coast and in Japan. Motomi is the principle bass player for Boston Baroque. She appeared as soloist for NY Philharmonic Brandenburg Concert No.6. Ms. Igarashi is a board member of the viola da gamba society of Greater New York, a caretaker of instruments for the Gamba Society of America, and a teacher of master classes and workshops.
EVENTS
Venice Circa 1500: The Beginning of Printed Polyphonic Music
Venice Circa 1500: The Beginning of Printed Polyphonic Music
THE ITALIAN JOB: 4-part Italian Renaissance music featuring recorders, viols and lute.
Their hope is to perform more frequently around the New York City area to educate audiences about these instruments, especially their differences, sound and the beautiful music played on them.
Photo Credits: Dennis Edemeka