Tina Chancey

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Tina Chancey is a multi-instrumentalist specializing in early bowed strings from the rebec and vielle to the kamenj, renaissance fiddle, violas da gamba and pardessus de viole.

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Early life and education

Born in Cleveland, Ohio to Communist parents, Chancey went into music at an early age, and attended Oberlin College. After three years at Oberlin, which had little early music in 1967-70, she moved to New York City to continue her education. She received her Bachelor's in Music and MA in performance from Queens College, City University of New York, her MA in Musicology from New York University, and her PhD in Musicology from the online Union Institute.[ citation needed ]

Career

After 10 years in New York City with the Ensemble for Early Music and the New York Renaissance Band, she moved to Washington, DC and married Scott Reiss. She performed with the Folger Consort and started Hesperus, an early-traditional ensemble, with Scott in 1979. HESPERUS performed throughout the Far East, Latin America, Europe and the States, specializing in British and Spanish Colonial Music and Medieval & Appalachian Fusion. The group has 15 CDs and 6 DVDs to its credit.

Chancey is a specialist on the pardessus de viole (a 5-string hybrid viol/violin played on the lap during the 18th c.), and received two grants from the National Endowment for the Arts to support solo performances on the pardessus de viole at the Kennedy Center and Weill Recital Hall at Carnegie Hall. [1] She has seven pardessus recordings; solos, a duo CD with Catharina Meints, and three with Trio Pardessus. Chancey currently performs a variety of early music styles with HESPERUS and Sephardic music with Trio Sefardi. Besides performing, she produces recordings for herself and others, teaches musical skills and improvisation, writes scholarly and popular articles, and directs HESPERUS, which is currently known for its early music soundtracks to classic silent films such as The Mark of Zorro, The Hunchback of Notre Dame, Nosferatu, Häxan and The Cabinet of Dr. Caligari.

Chancey has also performed with Ensemble Lucidarium, Ex Umbris, Ensemble Toss the Feathers and the Ensemble for Early Music.

In addition, she has written articles for publications such as Early Music America Magazine, as a book reviewer. [2]

Chancey has also been a member of the Renaissance-Rock group Blackmore's Night (featuring Ritchie Blackmore of Deep Purple and Rainbow with his partner, Candice Night). Her stage name with them is "Tudor Rose." [3]

Discography

HESPERUS, Tina Chancey & Scott Reiss

For silent film scores please visit : Hesperusplayszorro.com

As producer

Related Research Articles

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<span class="mw-page-title-main">Renaissance music</span> Western musical period between the 15th and 17th centuries

Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ars nova, the Trecento music was treated by musicology as a coda to Medieval music and the new era dated from the rise of triadic harmony and the spread of the contenance angloise style from Britain to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period.

<span class="mw-page-title-main">Viol</span> Bowed, fretted and stringed instrument

The viol, viola da gamba, or informally gamba, is any one of a family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Frets on the viol are usually made of gut, tied on the fingerboard around the instrument's neck, to enable the performer to stop the strings more cleanly. Frets improve consistency of intonation and lend the stopped notes a tone that better matches the open strings. Viols first appeared in Spain in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic rebab and the medieval European vielle, but later, more direct possible ancestors include the Venetian viole and the 15th- and 16th-century Spanish vihuela, a six-course plucked instrument tuned like a lute that looked like but was quite distinct from the four-course guitar.

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References