History of Carmina and Illuminare

CARMINA, (Latin for “poetry” or “songs”) is a chamber choir devoted to exploring the diverse musical styles of the Middles Ages through the Baroque. The group gave its first performance in the spring of 1998 at the Spotlight on the Arts Festival in Fairfax, Virginia. Since then, Carmina has continued to perform frequently in the Washington area, making appearances at such venues as the National Gallery of Art, the National Cathedral, the National Presbyterian Church, Anderson House, and the German Embassy. Carmina often collaborates with period instrument ensembles and has presented concerts jointly with Armonia Nova, the Washington Cornett and Sackbut Ensemble, The Orchestra of the Seventeenth Century, Ensemble Gaudior, the Chesapeake Viol Consort, and The Bach Sinfonia. Carmina has been praised both by The Washington Post and The Baltimore Sun, which noted the group’s “gorgeous tonal balance.” In 2002, Washingtonian magazine included Carmina in its list of “Good arts groups you might not know about.” The same year Carmina won a special grant for new and emerging artistic organizations from the Virginia Commission for the Arts. Since 2004 Carmina has regularly presented concerts as part of the Washington Early Music Festival. Invited by the Washington Arts Group to take part in its 2007 international convocation, both Carmina and Illuminare sang in a showcase performance, An Evening of Brillance, Past and Present, which also featured several internationally-known artists and ensembles. Carmina’s two CDs, A Carmina Sampler and The Son of Getron are available at concerts and through this website.

Carmina photo

Illuminare, formed in the fall of 2006 as the Carmina Women’s Ensemble, focuses on early vocal repertoire (Medieval through Baroque) composed or arranged for women’s voices. The name symbolizes the ensemble’s efforts to illuminate the glorious music of the past, often overlooked today. Just as the beautiful initial letters, or illuminations, decorated medieval manuscripts, the group strives to enhance and enrich the lives of its listeners through its performances. Illuminare has performed at the National Presbyterian Church, Anderson House, St. Mark’s Episcopal Church, St. Nicholas Orthodox Cathedral, The Franklin Park Arts Center, and First Night Alexandria. Illuminare’s performances for the Washington Early Music Festival have been favorably reviewed by The Washington Post. Their CD Illuminare Sings! can be purchased through this website and at concerts.

Illuminare photo

Listen to Carmina and Illuminare

Click here to hear samples of some of Carmina and Illuminare’s best performances.

Carmina and Illuminare on CD

Click here for ordering information for A Carmina Sampler and The Son of Getron, and Illuminare Sings!.

More Pictures of Carmina

With the Chesapeake Consort of Viols at the Church of the Ascension and St. Agnes, Washington DC: Click here.
Performing the medieval play “The Son of Getron,” St. Mark’s Episcopal Church, Washington DC: Click here.

About the Singers

Carmina and Illuminare’s singers hail from the greater Washington DC area and have a strong interest and practiced expertise in early music.

Reviews

“Unison singing is the gold standard of choral art. It may sound easy, but there’s nowhere to hide in a unison melodic line. Every bit of faulty intonation, every wobble and every misplaced consonant hangs out there. But unison singing is what the two chamber choruses Carmina, a mixed chorus, and Illuminare, its smaller, all-female sister ensemble, do so well, and the program they brought to St. Peter’s Catholic Church on Friday as part of the Washington Early Music Festival played handsomely to their strengths.”
- The Washington Post, June 14, 2010. Click here to read the full review.
“Chamber choirs Carmina and Illuminare brought medieval music and words to life in an uplifting performance…. Illuminare’s 12 sopranos blossomed… the unison melody rose and fell sweetly with each verse and the choir clung to the ends of phrases so that they melted away like sugar…. [Carmina’s male singers] were striking… the baritones sounded an earthy, primeval ringing as the tenors sang tenderly above…. Both groups under director Vera Kochanowsky flowed through the Latin verses with ease and maintained a gentle, precise quality in their voices. They blended so well that only in von Bingen’s ”O Ecclesia” did individual timbres emerge in shapely solos.”
- The Washington Post, June 30, 2008. Click here to read the full review.
“Carmina, a 15-voice chamber chorus conducted by Vera Kochanowsky, has come together as an ensemble, has honed its blend, perfected its pianissimo, and found ways to make complicated polyphonic textures sound transparent.”
- The Washington Post
“For dyed-in-the-wool Anglophiles and lovers of sacred choral music, it was a program to die for.... Most admirable about Carmina’s choral approach is the gorgeous tonal balance it achieved.... ...a howling success.... Carmina is led by harpsichordist Vera Kochanowsky who, in addition to knowing what it takes to put Renaissance choral music across, is a sensation at the keyboard.”
- The Baltimore Sun

Some of Our Past Concerts

“Passions and Plaints” - Both ensembles joined together for the 2011-2012 season finale, presented as part of the Washington Early Music Festival, whose theme was Vices & Virtues: Passionate Music of Early Europe. Works by Gesualdo, Victoria, Morley, Sheppard, Guerrero, Hildegard, and others. (June 15, 2012)
“Bouquet of Song” - Whatever its country of origin, or the name it bears—chanson, lied, canción, or ayre—the polyphonic song flourished magnificently in Europe during the Renaissance. Illuminare took listeners on a tour of this genre and beguiled them with works by master composers Morley, Weelkes, DuFay, Guerrero, Gabrieli, and others. (May 6, 2012)
“Fairest Isle” - Always a bit removed from the musical fashions and trends of the continent, England has produced a number of composers of impressive skill and unique influence. In this program Carmina focused on the formidable talents of Henry Purcell, including his moving Funeral Sentences, and the music of Morley, Dowland, Sheppard, and other notable early English composers. With Vera Kochanowsky, harpsichord and Howard Bass, lute. (April 22, 2012)
“East Meets West” - This concert showcased two vibrant Washington area women’s ensembles. Slaveya, which specializes in the traditional vocal music of Eastern Europe and the Black Sea region, joined Illuminare in a program featuring traditional folksongs, contemporary music inspired by folk traditions, and sacred works from Bulgaria and the Republic of Georgia. Selections by Hildegard von Bingen and other early composers of Western Europe were woven into the program and offered a uniquely contrasting listening experience. (March 25, 2012)
“Psallite! Joyous Early Music for the Season” - Carmina and Illuminare offered jubilant holiday fare in the music room of the historic Kentlands mansion, gorgeously decorated for the holiday. This program included enchanting traditional tunes as well as less familiar gems, ranging from intimate carols and Bach chorales to a vigorous American fuging tune, astonishing organum from the Middle Ages, and magnificent choral counterpoint. (December 17, 2011)
“Mediterranean Mosaic” - Listeners shook off the chill of autumn and headed south with Carmina to the warm musical climes of Italy and Spain. This program included splendid Venetian motets by Monteverdi, intimate secular songs of Spanish composers Guerrero, Flecha and Vasquez, a charming Christmas villancico, and much more. (November 13, 2011)
“The Rose of Virtue” - Framed by chants of the medieval visionary Hildegard von Bingen, this concert by Illuminare also featured polyphonic works from Hildegard’s time, such as Perotin’s famous Viderunt omnes and the Ad superni regis from the 12th-century Codex Calixtinus. English medieval carols and works by Renaissance masters rounded out the program. (November 6, 2011)
“Timor et Tremor” - Carmina explored some of the most remarkable musical expressions of faith in the unparalleled acoustics of St. Matthew’s Cathedral. Listeners heard the highly florid organum of twelfth-century composer Perotin, who pushed the boundaries of ornamental expansion so far as to make the underlying chant totally unintelligible. The ear was amazed by the excruciatingly expressive harmonies of Gesualdo’s sacred motets and responsories. Other works included Lassus’ chromatic motet Timor et tremor. (May 20, 2011)
“Illuminare at Strathmore: Art After Hours” - The ladies of Illuminare displayed their musical versatility, presenting a varied program of sacred and secular masterpieces, including works by Guerrero and Victoria. Pianist Steven Silverman joined us for a set of enchanting songs by Brahms. This concert was part of the Art After Hours series at the Strathmore Mansion. (March 30, 2011)
“From Hildegard to Brahms” - While both ensembles focus primarily on music written before 1700, we have recently expanded into some later choral repertories, including those of Johannes Brahms and Samuel Barber. This program showcased an extremely wide range of choral styles, featuring the visionary Medieval monodies of Hildegard von Bingen, contrapuntal works of the high Renaissance, the folksong-like choral creations of Brahms, a lively Spanish villancico, and much more. (February 13, 2011)
“Tallis and Byrd” - Listeners savored the rich harmonies and contrapuntal glories of the high English Renaissance. This lunch-hour concert featured the expressively intimate Mass for Four Voices by Thomas Tallis. Shorter favorites O Nata Lux and If Ye Love Me, as well as works by Tallis’ younger contemporary William Byrd, rounded out the program. (November 23, 2010)
“WEMF Concert” - The 2010 Washington Early Music Festival focused on the works of early French composers. The two ensembles presented a diverse program featuring the Mass of Tournai, motets by Franco-Flemish composers, and Abelard’s Planctus virginum Israel, with readings of excerpts from the letters of Abelard and Heloise. (June 11, 2010)
“Old Favorites and New Discoveries” - After twelve years of music making, Carmina looked back and revisited some of its cherished musical memories. At the same time, Carmina performed some relatively unknown gems and works by more ‘modern’ composers. (May 7 & 8, 2010)
“Italian Treasures” - Illuminare joined forces with the Countertop Quartet in a program featuring early music of Italy, including works by Landini, Monteverdi, Ciconia, Palestrina, and the 17th-century Milanese nun, Chiari Margarita Cozzolani. (January 24, 2010)
“First Night Alexandria” - Illuminare rang in the New Year with the sounds of days gone by. (December 31, 2009)
“The Musical Milieu of Judith Leyster” - CARMINA with Anne-Marieke Evers, mezzo soprano; William Simms, lute; and Vera Kochanowsky, virginal. This concert was presented in honor of an exhibition of paintings by Judith Leyster (1609-1660) and her circle on display at the National Gallery of Art. Music by Sweelinck, Dowland, Clemens non Papa, Padbrue, Philips and others. (October 21, 2009)
Washington Early Music Festival Benefit Concert - Illuminare sang works by Landini, Monteverdi and Ciconia. (July 18, 2009)
“Johannes Brahms and Early Music” - CARMINA & Illuminare, with Brian David Jones, clarinet and Diane Winter Pyles, piano. From his youth, Brahms was fascinated with early music—the counterpoint of Palestrina, the chorales, fugues and cantatas of J. S. Bach, the early German lied as exemplified by the works of Isaac, Hassler and others. This fascination led Brahms to experiment with early compositional techniques himself, as well as to collect, publish, and conduct the works of long-dead composers. Early in his career he founded and directed women’s choruses for which he composed and arranged music. His Frauenchor of Hamburg was one of the first women’s choruses to perform publicly. Illuminare will perform some of the works this group presented just prior to Brahms’ departure for Vienna in 1862. (May 8 & 10, 2009)
“The Lily and the Lion” - Illuminare explored the remarkably rich repertoire of the late Middle Ages and early Renaissance in a program featuring the works of DuFay, Ciconia, Landini and others. The cultural and financial power of Italy drew many composers from the Low Countries and France (the Lily) to seek their livelihoods in its many flourishing principalities, most notably, Florence (the Lion). It was here that national styles met, and in some cases blended. (March 27 & 29. 2009)
“Gloria in Excelsis” - CARMINA & Illuminare, with Douglas Wolters, viola da gamba and Vera Kochanowsky, harpsichord, performed a cornucopia of musical delights for the season—including Monteverdi’s exuberant Exultent caeli, Gesualdo’s moving and mysterious Ave dulcissima Maria, and the Christmas motet Gloria in altissimis Deo by the renowned Milanese nun Chiara Margarita Cozzolani. Tthese and many other early treasures were sung to a standing-room-only crowd in the lovely music room of Anderson House. (December 13, 2008)
“Ave Maria: Lady without Peer” - Gabriel’s greeting to Mary at the Annunciation, “Ave Maria,” has been set to music innumerable times by countless composers over the centuries. In this program Carmina focused on two giants of the Renaissance, Josquin and Victoria. Their settings of this famous text framed the program, which included both sacred and secular works of the period: poignant Song of Songs settings, delightful Spanish love songs by Vasquez, Flecha and Guerrero, and Josquin’s playful Italian works, including his famous El Grillo. (November 2, 2008)
“The Poetry of Song” - Carmina and Illuminare presented a program focusing on the works of Hildegard von Bingen, and other medieval composers who explored the expansive poetic-musical form of the sequence. Originally an extension of the Alleluia within the Roman Mass, the sequence took on an independence which other embellishments to chant did not, becoming a “canvas” for remarkable literary and musical creativity. Click here to read the review in the Washington Post! (June 28, 2008)
“Love and War” - Showcasing Clement Janequin’s admired chanson “La guerre,” this concert found Carmina exploring composers’ fascination with these two seemingly contradictory concepts. Included were the rambunctious Marche before the battell by Byrd; tender chansons by Sermisy and Janequin; dramatic madrigals by Wert, Monteverdi, and d’India; and lyrical Song of Songs settings by a variety of Renaissance composers. (April 26 & 27, 2008)
“A Star of Light” - Illuminare’s first solo program in the stunningly beautiful sanctuary of St. Nicholas Orthodox Cathedral. Surrounded by the painted images of the saints, listeners found themselves transported to an earlier time when music was seen as a vehicle for contemplation and a path toward an elevated state of understanding. Featured was be the Mass of Tournai, the oldest complete polyphonic setting of the Ordinary of the Mass. Also included on the program were medieval carols, conductus, motets and songs from the Piae cantiones, as well as a special work in honor of St. Nicholas. (December 2, 2007)
“Magnificat & Masterworks” - Carmina began our tenth season with an exciting collaboration with two other fine Washington area early music ensembles, the Washington Kantorei and the Bach Sinfonia, a period-instrument orchestra. Five outstanding soloists joined us for our featured major work, Johann Sebastian Bach’s Magnificat. Other works included Monteverdi’s Beatus Vir, Sestina’s Lagrime d’amante, selections from Telemann’s New Year’s cantatas, and Works by Pärt, Rautavaara, and Mauersberger. (September 30, 2007)
Washington Early Music Festival Benefit Concert, "Seven & Seven" - Carmina joined with six other professional early music ensembles in a single concert session to perform favorite music from previous festival themes – England, Spain & and New World, and Italy, to benefit the upcoming June 2008 festival. Other performers included Armonia Nova, Ensemble Gaudior, Hesperus, Modern Musick, Organist Keith Reas, and the Suspicious Cheese Lords. (July 7, 2007)
“Cori spezzati: Renaissance Polychoral Music” - For the exciting finale of the 2006-2007 season, Carmina joined forces with the Capitol Hill Chorale and a group of talented period instrumentalists to present works for multiple choirs. “Cori spezzati,” an Italian term meaning “broken choirs,” emerged as an influential style in sixteenth century Italy, and was initially cultivated by composers such as Willaert and Gabrieli. The style’s popularity soon spread outside of Italy. This program featured the Magnificat for 3 choirs (SWV 468) by Heinrich Schütz, Gabrieli’s most famous pupil. (June 2 & 3, 2007)
“Tears and Lamentations” - In St. Veronica’s spacious and acoustically live sanctuary, Carmina presented a program devoted to Lenten themes. Included in this program were Crecquillon’s masterful Lamentationes Jeremiae for 5 voices, as well as works by Josquin, Mouton, and others. The Carmina women’s ensemble, Illuminare, performed the dramatic Planctus Virginum by Peter Abelard (1079-1142), which tells the story of Jepthe’s tragic return home from his daughter’s point of view. (March 25, 2007)
“Nowell Sing We” - This holiday program featured some of the most beloved early melodies to grace the season, including works by Praetorius, Schütz, and J.S. Bach, medieval carols, and more. Carmina’s new women’s ensemble, Illuminare, made its first public appearance on this program! (December 13, 2006)
“English Splendour” - The musical glories of England’s “Golden Age.” Two of the monarchs of this period, King Henry VIII and his daughter Queen Elizabeth I, warmly embraced the musical arts and supported the work of many great composers. In this concert, Carmina explored the sacred works of this period, including those of Tallis, Byrd, Sheppard, White, and others. The Mass for Four Voices by Thomas Tallis was featured. (October 14 & 15, 2006)
“Floating Notes: Venetian Choral Music by Caldara and Lotti” - Guest conductor Philip Cave led Carmina’s singers in a program of works by Venetian composers Caldara, Lotti and Monteverdi. Featured was be Caldara’s Mass in G and the Miserere mei and Crucifixus a 8 by Lotti. (June 4, 2006)
“Ce Grand Univers: Music of Orlande de Lassus” - Guest conductor Hubert Beckwith led Carmina in sampling the wide universe of the master’s music, including motets (the astonishing Timor et tremor and ravishing Osculetur me for double choir), chansons both light and serious, and the intimate Susanne un jour Mass, based on the music of Lassus’s well-known spiritual chanson. (April 1 & 2, 2006)
“Rimante in Pace” - Carmina performed the choral works of Salamone Rossi and Francesco Cavalli, under the direction of guest conductor Keith Reas. A musical feast from two early-seventeenth century Northern Italian masters: The eloquent double-choir Requiem of Cavalli paired with samples of Rossi’s Jewish liturgical pieces and Italian madrigals. (November 20, 2005)
“Ensalada Español” - Carmina with Keith S. Reas, Organist. An enticing musical menu for voices and organ, including selections by Vasquez, Ximino, Flecha, Victoria, Aguilera and Bruno. This performance was a part of the second annual Washington Early Music Festival. (June 22, 2005)
“The Lighter Side of Beethoven,” presented at the German Embassy by invitation of The Beethoven Society of America in honor of Beethoven’s 234th birthday. (December 16, 2004)
“Italian Innovations,” a program of innovative Italian vocal compositions from the 14th through the 17th centuries. Waterford Concert Series, Waterford, Virginia. (October 26, 2003)
“The Son of Getron,” a fully staged & costumed production of the French 12th century miracle play about St. Nicholas. Washington DC & Alexandria, Virginia.
(July 26 & 28 and December 6, 2002) Click here to see pictures.
“The Music of Guillaume DuFay and Josquin Deprez,” performed as part of the annual summer concert series at the National Cathedral, Washington DC. (July 13, 2001)

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