Saturday December 16 5:00pm


$20, $35, $50, $65


This December, one of New York’s preeminent vocal ensembles, TENET, brings light and joy to one of the longest nights of the year in a heartfelt program of intimate carols to celebrate the season. A vocal quintet joins together with lute to perform poignant and lovely renditions of carols — both new and old — with some surprising arrangements to warm the heart. The Rosen House, decorated for the holidays, will be open from 4:00pm for self-guided tours and complimentary refreshments.


Martha Cluver & Jolle Greenleaf, soprano
Kate Maroney, alto
Owen McIntosh, tenor
Andrew Padgett, bass
Hank Heijink, lute

Jolle Greenleaf, Artistic Director


Traditional English Angelus ad Virginem
Parry Welcome Yule
Sweelinck Hodie Christus natus est

Traditional Basque The Infant King (arr. Willcocks)
Anonymous A Toye
Traditional Irish Irish Carol

Anonymous There is no rose, (15th century)
Anonymous Veni mater gracie/Dou way Robin, (14th century)

Goss See amid the winter’s snow
Traditional English Sussex Carol

Laurencini of Rome A Fantasy
Traditional Italian Tu scendi dalle stelle

Wexford Carol Good people all
Hassler Cantate Domino
Vaughan Williams Wither’s Rocking Hymn
Cornelius Three Kings from Persian lands afar

Lawson Lullay my liking
dello Joio Lullaby for the Christ Child

Ballard Volte
Traditional French Un flambeau, Jeannette, Isabelle

Praetorius Es ist ein Ros
Bach O Jesulein süss

Cutting Greensleeves
Traditional English What child is this? (arr. Stainer)
Traditional English The old year now has fled away



Artist Website Listen Watch

Martha Cluver & Jolle Greenleaf, sopranos
Kate Maroney, alto
Owen McIntosh, tenor
Andrew Padgett, bass
Hank Heijink, lute

Jolle Greenleaf, Artistic Director

Preeminent New York City-based early music ensemble TENET celebrates its ninth season in 2017-18. Under Artistic Director Jolle Greenleaf, TENET has won acclaim for its innovative programming, virtuosic singing and command of repertoire that spans the Middle Ages to the present day. Highlights of recent seasons include performances of J.S. Bach’s motets, a three-year cycle of Carlo Gesualdo’s Tenebrae Responsories, a medieval survey series called The Sounds of Time led by Robert Mealy, and original theatrical performances highlighting works composed by, for, and about women in 17th century Italy. Renowned for their interpretations of Renaissance and Baroque repertoire, TENET’s distinguished soloists have been praised for their pristine one-voice-to-a-part singing “to an uncanny degree of precision” (The Boston Globe). TENET sponsors the highly praised Green Mountain Project, giving annual performances of Claudio Monteverdi’s Vespers of 1610, as well as other Vespers that have been newly reconstructed by the project’s musical director, Scott Metcalfe, including music by Monteverdi, Giovanni Gabrieli, Antoine Charpentier, and their contemporaries.

TENET has won acclaim for its innovative programming, virtuosic singing and command of repertoire that spans the Middle Ages to the present day.

Vocalist and Roomful of Teeth member Martha Cluver has been praised by The New York Times for her “fluid, dark-hued,” and “soulful” soprano voice. As a soloist, she has performed and recorded with ensembles such as Trinity Baroque Orchestra, Janáček Philharmonic, Remix Ensemble, Prague Modern, Rebel Baroque, ICE, ACME, Fifth House Ensemble, and Deutsches Symphonie-Orchester Berlin. Chamber music collaborations include groups such as Alarm Will Sound, Ensemble Signal, So Percussion, NEXUS, Axiom, Trio Mediaeval, Novus New York, Dogs of Desire, Wordless Music Orchestra, and TENET.

Soprano Jolle Greenleaf is one of today’s foremost figures in the field of early music. Ms. Greenleaf has been hailed by The New York Times as a “golden soprano” and “a major force in the New York early music-scene.” She is a celebrated interpreter of the music of Bach, Buxtehude, Handel, Purcell and, most notably, Claudio Monteverdi. She has performed as a soloist in venues throughout the U.S., Scandinavia, Europe, and Central America for important presenters including Vancouver Early Music Festival, Denmark’s Vendsyssel Festival, Costa Rica International Music Festival, Puerto Rico’s Festival Casals, Utrecht Early Music Festival, at Panama’s National Theater, and San Cristobal, the Cathedral in Havana, Cuba.

Lutenist Hank Heijink (pronounced Hey-ink) has played all over the world with leading ensembles such as the Amsterdam Baroque Orchestra, European Union Baroque Orchestra, Orchestre d’Auvergne, TENET, Mark Morris Dance Group, and the Wooster Group, among others. He is in high demand as an accompanist on theorbo, lute, and guitar, and his playing has been described as “eloquent” (Wall Street Journal) and “deft and sensitive” (The New York Times). He can be heard on TENET’s recent CD A Feast for the Senses and on Green Mountain Project’s live recording of Claudio Monteverdi’s Vespers of 1610. Mr. Heijink holds a performance degree from The Hague’s Royal Conservatory (the Netherlands), as well as a degree in computer science, and a PhD in social sciences. When not playing the lute, he writes software.

Recognized for “vibrant and colorful” singing (The New York Times) mezzo-soprano Kate Maroney’s recent soloist appearances include the Carmel Bach Festival, New York Baroque Incorporated, LA Opera, Lincoln Center Festival, Oregon Bach Festival, Musica Sacra, Bach Collegium San Diego, Princeton Pro Musica, Bach Vespers Holy Trinity, Mark Morris Dance Group, Yale Choral Artists, American Opera Projects, Berkshire Bach Society, and Clarion. Kate has collaborated closely with composers Philip Glass, David Lang, Martin Bresnick, Julia Wolfe, Missy Mazzoli, Hannah Lash, Dominick Argento, Christopher Cerrone, Daron Hagen, Matthew Welch, Paola Prestini, Ted Hearne, Lisa Bielawa, and Scott Wheeler. She holds a D.M.A. from Eastman, degrees from SUNY Purchase and Yale, teaches at Mannes, and resides in Brooklyn with musician-husband Red Wierenga.

Described by The New York Times as a “lovely, tender high tenor” in one concert and “appropriately brash” in another, Owen McIntosh is widely known for the color and creativity he brings to his diverse career as a soloist and chamber musician. Recent solo engagements include the modern premiere of Aliotti’s oratorio Santa Rosalia with New York Baroque Incorporated, Bach’s St. John Passion with TENET, Mozart’s Die Zauberflöte with Boston Baroque, Haydn’s Chamber opera L’isola Disabitata with the American Classical Orchestra, the Monteverdi Vespers of 1610 with Apollo’s Fire and Green Mountain Project, Bach’s St. Matthew Passion with Grand Rapids Symphony,  and a performance and Grammy nominated recording of il Ritorno d’Ulisse in Patria with Boston Baroque.

Praised for his “powerful baritone and impressive vocal range” (Boston Music Intelligencer), bass-baritone and hurdy-gurdyist Andrew Padgett is an accomplished interpreter of both Baroque and medieval vocal and instrumental music. He has collaborated with early music luminaries such as Masaaki Suzuki, Nicholas McGegan, and Benjamin Bagby, and has been featured as a soloist in concert venues worldwide, including Alice Tully Hall at Lincoln Center, NYC, and the Esplanade Concert Hall in his hometown, Singapore. Andrew holds a B.S. in physics and an M.M. in voice from U.C. Santa Barbara, and an M.M. in early music, oratorio, and chamber ensemble from Yale University’s Institute of Sacred Music. He is based in New York City, where he sings with the Saint Thomas Choir of Men and Boys under the direction of Daniel Hyde.