Daniel Swenberg, photo by Tina Gutierrez
The Dryden Ensemble is entering an exciting new chapter as lutenist Daniel Swenberg steps into the role of artistic director, succeeding founder and former artistic director Jane McKinley. With a commitment to historically informed performances and innovative programming, Swenberg brings a fresh vision while preserving the ensemble's dedication to Baroque chamber music.
A Rare Musical Feast: Baroque Lute Duets
Among Swenberg’s first projects in his new role is A 26-Course Feast: Baroque Lute Duets, a concert featuring rarely performed 17th- and 18th-century duets for the Baroque lute. The performance will take place on Sunday, February 16, 2025 at the Unitarian Universalist Congregation of Princeton (50 Cherry Hill Road, off Hwy. 206, Princeton, NJ). Showtime is 4:00pm. Admission is free, though donations are gratefully accepted.
Swenberg will be joined by acclaimed lutenist Dušan Balarin, a former student and frequent collaborator. Together, they will present exquisite duets from the lute’s golden age, spanning from the early 17th century to its decline in the late 18th century.
The program begins and ends with galant duets from the court of Wilhelmine, Margravine of Bayreuth, a skilled lutenist and student of Silvius Leopold Weiss, who fostered a final golden age of lute music. Other highlights include Georg Philipp Telemann’s Partita in G Minor, inspired by Polish gypsy fiddlers, and reconstructed works by Henry Purcell from an English music collection in Poznań, Poland. The duo will also perform pieces by François DuFault, Robert DeVisée, Conti, and Sammartini, including two sonatas for Baroque mandolino, the smallest member of the lute family.
New Leadership, Same Passion for Innovation
As he steps into this leadership role, Swenberg remains committed to The Dryden Ensemble’s tradition of blending music with historical and literary context.
“The programs that Jane created were deeply creative, often incorporating literary or historical context, often with narrators. I hope to continue that tradition while also incorporating elements of history, science, and economics—areas that fascinate me,” he explains. “For Purcell-loving audiences, expect more deep dives into Restoration and early 18th-century England. The political partisanship, diaries, and the cosmopolitan nature of the music at that time are incredibly rich.”
McKinley sees Swenberg as a natural successor to lead the ensemble:
“Daniel has been part of The Dryden Ensemble for over fifteen years and is well known to our audiences, which provides a sense of continuity. His expertise and vision will bring a fresh perspective while maintaining the group’s intimate and adventurous approach to music-making. Daniel also has a passion for creating programs that place the music in its historical context, which was one of my favorite things about serving as artistic director.”
For Swenberg, Baroque music is anything but static:
“Some historically informed performances can be dull or cautious, but I believe that understanding these instruments and their history makes performances more lively, curious, and compelling. The people of the 16th-18th centuries believed music should stir deep emotions—not just be ‘pretty’ or ‘relaxing.’ I hope our expertise excites listeners’ ears and minds. The music is varied and wonderful. The instruments are exotic and cool. They speak the language, convey the groove, and paint the sonic landscapes intended by the composer. I want our audiences to experience the full depth and energy of this music.”
Upcoming Concerts
The Dryden Ensemble’s 2025 season features two additional concerts at Princeton Theological Seminary Chapel, continuing its exploration of Baroque music:
* March 16 at 4:00pm – En Concert: The Marvelous Mr. Meusel & Friends. Featuring Daniel Swenberg, Lisa Terry, Webb Wiggins, and guest flutist Taya König-Tarasevich in a program celebrating 18th-century courtly entertainments, with works by Couperin, Dieupart, Meusel, and DeVisée.
* April 19 at 4:00pm – Baroque Passion: Music for Holy Week. Soprano Clara Rottsolk joins the ensemble for a program of sacred arias with obbligato lute and violas da gamba, featuring music by Bach, Ferrandini, and Corrette.
As Swenberg and The Dryden Ensemble forge ahead, their mission remains clear: to bring Baroque music to life with authenticity, passion, and historical depth.
“The state of our world could use more beauty and thoughtful exploration,” Swenberg says. “We hope to offer just that.”
About the Artists
Daniel Swenberg - Recognized as one of the foremost players of early plucked instruments in the United States, Daniel Swenberg plays a wide variety of lutes and guitars—Baroque, Renaissance, and classical/romantic, in small, medium, and large sizes. A longtime member of The Dryden Ensemble, he performs across North America and Europe with ensembles including The Metropolitan Opera, Carmel Bach Festival, Jordi Savall and Le Concert des Nations, and Tafelmusik. He appeared on Broadway with Mark Rylance in Farinelli and the King and has performed with The New York Philharmonic, The Philadelphia Orchestra, Catacoustic Ensemble, Handel & Haydn Society, and many more. He has also accompanied Renée Fleming and Kathleen Battle at Carnegie Hall.
Swenberg serves on the faculty of Juilliard’s Historical Performance program. He has received awards from the Belgian American Educational Foundation (2000) for his study of 18th-century chamber music for the lute and a Fulbright Scholarship (1997) to study in Bremen, Germany. His programming integrates music with historical, scientific, economic, and cultural contexts.
Dušan Balarin - Dušan is a versatile soloist and accompanist on historical lutes and guitars. He has performed with renowned artists and ensembles, including Cécile McLorin Salvant, The Newberry Consort, Les Arts Florissants, and The Chicago Symphony Orchestra. A Juilliard graduate and recipient of the Historical Performance Scholarship, he studied under lute virtuoso Nigel North, earning his MM with highest honors from Indiana University.
Originally from Lima, Peru, Balarin’s studies have taken him to Brazil and Texas, where he honed his craft before becoming a sought-after performer in early music circles.
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