Suggested
Donation:
$20 to $30
(a free will offering - everyone
welcome)
•
18
and under FREE •
SSEMF presents outstanding early chamber music in the
Skagit Valley thanks to your support.
The Salish Sea Early Music Festival is a
501(c)3 organization and all donations
are fully tax deductible in accordance
with the law. Your donations are
welcomed at
https://www.salishseafestival.org/donate
.
✣
With special thanks
✣ to
Fir-Conway Lutheran Church
2025 Salish Sea Early Music Festival in the
Skagit Valley ~
Period Instrument chamber music from six centuries
in the Skagit Valley and around the Salish Sea ~
~ Presented in
collaboration with Fir-Conway Lutheran Church ~
It is a great honor to feature
Ukrainian harpsichordist Olena
Zhukova of Kyiv, Ukraine, a
leading harpsichordist and a
tireless ambassador of
early music in her country and
abroad during this
difficult period. She has performed
since the outbreak of full-scale war
in prominent performances sponsored
by distinguished institutions all
around Ukraine, Poland, Austria,
France, Switzerland and Czech
Republic for international festivals
and in collaboration with major
artists, orchestras and opera
productions. Ms. Zhukova is also an
accomplished scholar who published
and presented more than 20 articles,
while devoting herself to her
harpsichord class and chamber music
students as Associate Professor at
both the National Music Academy
of Ukraine and the Gliére
Academy of Music (Kiev), where
she founded the harpsichord class.
Recent engagements during the past
few months alone include Bach's
Goldberg Variations in the
prestigious Organ Hall in
Lviv, Ukraine; the first major
classical performance for the public
in Chernihiv,
Ukraine since the
outbreak of war entitled French
Music in Times of War
and sponsored by the Ambassador of
France, in a newly rebuilt
performance hall in Chernihiv that
had previously been extensively
damaged by a Russian strike at the
beginning of the conflict; and an
involved program, consisting
exclusively of new music in part
composed for her by today's
Ukrainian composers, for Columbia
University’s Global Center in
Paris and its Institute
for Ideas and Imagination.
Ms.
Zhukova will appear in the following
two programs:
Dates
to be announced: —
HARPSICHORD
MYSTERY (Seattle,
Vancouver and Tacoma only)
· Elena
Zhukova,
harpsichord
The Ukrainian harpsichordist
deciphers mysterious and elusive
rarities as well as standards for
solo harpsichord by Byrd, Couperin,
Rameau and Scarlatti alongside
Ukrainian gems including a
harpsichord sonata by Dmitry
Bortnyansky. [only in Seattle,
Vancouver and Tacoma]
Dates
to be announced: — EUROPEAN
TOUR 1690-1790
· Elena Zhukova,
harpsichord
· Jeffrey Cohan,
baroque flute
An excursion through a century of
transformation and diversity by decade
and culture within the baroque and
classical periods, through the
perspective of composers for
harpsichord and flute from France,
Italy, Scotland, Germany and Ukraine.
Thursday, May 1 at
7:00 PM: — The
MUSIQUE DE LA CHAMBRE of LOUIS XIV
· Caroline
Nicolas, viola da gamba
· William Simms,
theorbo & baroque guitar
· Jeffrey Cohan,
baroque and renaissance flutes
The SUn King's court musical
establishment is to be represented by
Jean-Baptiste Lully, Élisabeth Jacquet
de La Guerre, Marin Marais, Jacques
Hotteterre, etc., including music
designated for the king's bedtime,
evening concerts and banquets, with
our special guests from New York and
Baltimore.
Monday, May 12 (was May 16)
at 7 PM: — CONCERTI
from the COURT of FREDERICK THE
GREAT(please
note revised date)
· David Schrader,
harpsichord
· Jeffrey Cohan,
baroque flute
· Elizabeth
Phelps, baroque violin
· Courtney
Kuroda, baroque violin
· Christine
Moran, baroque viola
· Susie Napper,
baroque cello
A completely new assortment of
concerti for harpsichord and flute
from the illustrious members of the
musical establishment of flutist
Frederick the Great, King of Prussia,
including Carl Philipp Emanuel Bach,
Johann Joachim Quantz, and Frederick
himself.
Wednesday, June 4 at
7:00 PM: — BEETHOVEN'S
FLUTE, VIOLA & GUITAR
· Elizabeth
Blumenstock, viola
· Oleg TImofeyev,
7-string guitar (Moscow, 1820)
· Jeffrey Cohan,
8-keyed flute (London, 1820)
Repertoire abounds for this popular
ensemble of guitar, viola and flute
during Beethoven's time. With
outstanding violinist and violist
Elizabeth Blumenstock.
Late
July: — THE
18TH-CENTURY HARPSICHORD IN SPAIN
(Seattle,
Vancouver and Tacoma only - please see
those pages on our site)
· Irene
Roldàn, harpsichord
Step into the heart of 18th-century
Iberia, where the vibrant court of
Madrid stood as a focal point for the
flourishing of the rich keyboard music
of Domenico Scarlatti, Sebastian de
Albero, Jose de Nebra, and the
Portuguese Carlos Seixas. [only in
certain locations]
Tuesday,
July 15 at 7:00 PM: — JOHANN SEBASTIAN
BACH
· Irene Roldàn,
harpsichord
· Jeffrey Cohan,
baroque flute
Spanish harpsichordist Irene Roldàn from
Basel and Jeffrey interpret Bach's
phenomenal music for flute and
harpsichord.
~
Earlier concerts this 2025 season
~
Tuesday,
January 21, 2025 at
7:00 PM: — THE CANZONA
· Vicki Boeckman,
renaissance recorders
· Tina Chancey,
tenor viol
· Jeffrey Cohan,
renaissance transverse flutes
· Anna Marsh,
dulcian (renaissance bassoon)
Featuring special
guest renaissance specialist and
innovative improviser Tina Chancey
from Hesperus in Washington, DC, this
in-depth exploration of the Italian
four-part canzona, which blossomed in
print from 1577 through the mid
1600’s, traces its development from
1533, when commercial music printing
was in its infancy in Europe, through
1636 at which point more “baroque”
stylistic forms such as the sonata and
the suite had begun to emerged.
Canzonas by Florentino Maschera
(1582), Floriano Canale (1600),
Giovanni Dominico Rognoni Taegio
(1605), Antonio Troilo (1606),
Giovanni Gabrieli (1608), Girolamo
Frescobaldi (1608), Giovanni Antonio
Cangiasi (1614), Giacomo Biumi (1624),
Nicolo Corradini (1624), Giovanni
Buonamente (1636) and others are to be
included in the program along with
examples of the earlier French and
Flemish songs of the early 1500's that
inspired them, including well known
chansons published specifically for
instrumentalists in 1533, 1577 and
1588, among them Clement Jannequin’s
“Song of the Birds”. Renaissance winds
of three distinct families along with
the fretted viols provide an exciting
blend and a distinct character to each
of the four intertwining musical
lines.
Tuesday,
February 25, 2025
at 7:00 PM:
— THE
CHACONNE with LES VOIX
HUMAINES
· Susie Napper,
viola da gamba & treble viol
· Mélisande
Corriveau, viola da
gamba & pardessus de viol
· Elisabeth
Wright, harpsichord
· Jeffrey
Cohan, baroque and
renaissance flutes
Les
Voix Humaines, the
widely celebrated prize-winning
duo of viols from Montreal joins
us for a program demonstrating the
chaconne at it's most poignant,
transporting three important works
by Johann Sebastian Bach to an
entirely new level through their
own transcriptions, and presenting
other remarkable but rarely heard
repertoire for two viola da
gambas, pardessus de viol, flute
and harpsichord.
The
hypnotic French chaconne that
developed during the reign of
Louis XIV brings the listener from
one emotional realm to the next in
a regular procession of episodes
that transition gently in an
emotional direction or leap
suddenly with emotion and stark
contrast, now uplifting or sad,
majestic or introspective, hopeful
or questioning. The pulse may feel
broader, then more angular, then
running with abandon or pregnant
with poise, always cleverly
evolving in the presentation of a
musical story.
Bach
and Telemann succeed in bringing
this chaconne to a whole new
level, as we'll experience with
"Les Voix Humaines" in their very
own transcription of Bach's Chaconne
in D Minor for 2 viola da
gambas, originally for solo
violin, and in the chaconne
entitled Modéré from
Telemann's Paris Quartet No.
12 in E Minor for flute,
pardessus de viole, viola da gamba
and harpischord. Two outstanding
quartets for two viola da gambas,
flute and harpsichord celebrating
this unusual combination of
instruments will be heard
alongside two additional
transcriptions: for flute,
pardessus de viol and harpsichord
of Bach's Organ Trio Sonata
in D Minor, and for solo
harpsichord of the Allemande from
Bach's D Major Suite No. 6
for solo cello.
From
the standpoint of the
Salish Sea Early Music
Festival and
as Tobias Hume asserted in
1605, "Now to use a modest
shortness, and a brief
expression of my self to all
noble spirits": Les Voix
Humaines is simply
phenomenal!
In
1676, Thomas Mace accurately
expressed their sentiments: "I
have been more Sensibly,
Fervently, and Zealously
Captivated, and drawn into
Divine Raptures, and
Contemplations, by Those
Unexpressible Rhetorical,
Uncontroulable Perswasions,
and Instructions of Musicks
Divine Language."
A perfect description of their
vision of music making, Sloane
wrote c.1794: "There must be
an Order and just Proportion,
Intricacy with Simplicity in
the Component parts, Variety
in the Mass, and Light and
Shadow in the whole, so as to
produce the varied sensations
of gaiety and melancholy, of
wildness and even surprise and
wonder…"
And as Thomas Mace says in
1676: "…When we come to be
Masters… we can command all
manner of Time, at our own
Pleasures; we Then take
Liberty for Humour and good
Adornment-sake, to Break Time;
sometimes Faster, sometimes
Slower, as we perceive, the
Nature of the Thing Requires,
which…adds much Grace and
Luster to the Performance."
Tuesday,
March 11,
2025 at 7:00 PM:
—
FRENCH
BAROQUE TRIO SONATAS
with MUSICA ALTA RIPA
· Anne
Röhrig,
violin
· Bernward
Lohr, harpsichord
· Susie
Napper, viola da
gamba
· Jeffrey
Cohan, baroque
flute
French
trio sonatas and quartets
spanning more than 60 years
through the reigns of Louis
XIV and Louis V, alongside a
"Paris Quartet" written by
Georg Philipp Telemann for
his visit to Paris in 1738.
Marin
Marais (1656 – 1728)
—
Trio
C major (1682)
Jean-Baptiste Quentin, the
young (before 1690 – ca.
1742)
—
Trio
in G minor Opus 8 No. 1
(after 1729)
Louis-Gabriel Guillemain
(1705 – 1770)
—
Trio
Sonata No. 3 in D Minor
(1743)
Jean-Marie Leclair l'aîné
(1697 – 1764)
—
Violin
Sonata in A Minor
Joseph Bodin de
Boismortier (1689 – 1755)
—
Trio
Sonata Opus 37 No. 2 in e
minor (1732)
MUSICA
ALTA RIPA
Harpsichordist BERNWARD LOHR
is director of Hanover's
Musica Alta Ripa, one of
Germany's most active and
extensively recorded period
instrument ensembles.
Baroque violinist ANNE
RÖHRIG, leads the
Hannoversche Hofkapelle (the
"Hanover Court Orchestra"),
another of the premier
baroque orchestras that
contributes to the vibrant
early music scene in
Hannover and Northern
Germany. “Hannover”
originally evolved from
"Hohes Ufer", meaning "high
riverbank" or "Alta Ripa" in
Latin. Bernward Lohr and
Anne Röhrig are professors
at music conservatories in
both Hannover and Nuremburg,
Germany. Their more than 30
recordings have garnered
many of the most important
awards in Europe for
recordings including the
Diapason Dòr, the Cannes
Classical Award, the German
Recording Critics' Prize,
and several times the
coveted Echo Klassik Award.
Both were awarded the 2002
Music Award of Lower Saxony.
~
Last Season
~
✣
✣
✣Tuesday,
JANUARY 23, 2024 at 7:00 PM in CONWAY ✣
✣
✣
THREE
CENTURIES:
GUITAR,
THEORBO & FLUTE
Michael
Freimuth
~
renaissance guitar & theorbo ~
Jeffrey Cohan
~
renaissance & baroque flutes ~
16th
Century
Diego
Ortiz • William Byrd
Giovanni
Bassano
Girolamo
Dalla Casa
17th
Century
Giovanni
Paulo Cima
Girolamo
Frescobaldi
Giovanni
Battista Fontana
Giovanni
Battista Buonamenti
Bartolomé
de Selma y Salaverde
18th
Century
Arcangelo
Corelli
• André Chéron
Robert
de Visée
Join
us for the opening 2024 Salish Sea Early
Music Festival and an unusual and
expansive journey through the music for
guitar, lute and flute of the 16th, 17th
and 18th centuries, including elaborate
jazzed-up versions of well known songs of
the time, published by the incredible wind
instrument virtuosi of the late 16th
century, along with canzonas, sonatas and
suites from Spain, Italy, England and
France. The instruments include the
renaissance guitar, which is considerably
smaller and more mellow-toned than its
modern descendant, theorbo (an extremely
long-necked lute), the one-piece
cylindrical renaissance flute along with
the bass renaissance flute, and the
one-keyed baroque flute.
✣
✣
✣Monday,
February 12, 2024 at 7:00 pm in
Conway ✣
✣
✣
SIMPHONIE
NOUVELLE:
LOUIS
XIV & J.S. BACH
Stephen
Stubbs
~ baroque
guitar ~
Susie
Napper
~
viola da gamba ~
Jeffrey
Cohan
~
baroque flute ~
guitarists
Diego
Francesco Corbetta (1615-1681) Robert
De Visée (c.1655-1733) viola
da gambists
Monsieur
de Sainte Colombe
(c.1640-c.1700) Marin
Marais (1656-1728) Jacques
Morel (c.1680-c.1740) flutist
Michel
de la Barre (c.1675-1745) composers
Élisabeth
Claude Jacquet de la Guerre (1665-1729)
François Couperin (1668-1733) Johann
Sebastian Bach (1685-1750)
Louis
XIV gathered the finest musicians of
France at his court in Versailles and this
program features many of the late 17th and
early 18th-century guitarists, viola da
gambists, flutists and other composers
associated with his illustrious musical
establishment, alongside the Sonata in E
Minor, BWV 1034 of Johann Sebastian Bach.
✣
✣
✣Thursday,
February 22, 2024 at 7:00
pm in Conway✣
✣
✣
GEORG
PHILIPP TELEMANN:
PARIS QUARTETS
David
Greenberg
~
baroque
violin ~
Elisabeth
Wright
~
harpsichord ~
Susie
Napper
~
viola da gamba ~
Jeffrey
Cohan
~
baroque flute ~
Quadri
a violino, flauto traversiere, viola
da gamba
o violoncello, e fondamento (1730):
Concerto
II in D Major
Sonata
II in G Minor
Nouveaux
quatuors en six suites (1738):
Premier
Quatuor in D Major 4e.
Quatuor in B Minor
Having been invited by several
of the most prominent French
musicians to visit Paris,
Telemann composed and published
the first set of his remarkable
"Paris Quartets" in 1730, and
left Hamburg for Paris seven
years later, where all 12 of the
quartets were performed, almost
surely with Teleman himself on
the harpsichord. The second set
of quartets was published in
Paris during this visit in 1738.
Two years later Telemann related
the following:
"The admirable performances of
these quartets by Messrs Blavet
(transverse flute), Guignon
(violin), the younger Forcroy
[i.e. Forqueray] (viola da
gamba) and Edouard (cello) would
be worth describing were it
possible for words to be found
to do them justice. In short,
they won the attention of the
ears of the court and the town,
and procured for me in a very
little time an almost universal
renown and increased esteem."
✣
✣
✣Tuesday,
March 19, 2024 at 7:00 PM in
Conway ✣
✣
✣
FRANZ
JOSEPH HAYDN
TRIOS
Jeffrey
Cohan
~
8-keyed flute
~
Lindsey
Strand-Polyak
~
baroque
violin ~
Martin
Bonham
~
baroque cello ~
Franz
Joseph Haydn
Wolfgang
Amadeus Mozart
Franz
Anton Hoffmeister
François
Devienne
As
the most celebrated composer in all of
Europe for much of his career, Franz
Joseph Haydn (1732-1809) was Mozart’s
mentor and friend as well as Beethoven’s
tutor. The program will include three
trios for flute, violin and cello by
Haydn, selections from a 1795 arrangement
for these instruments of Mozart’s opera
“The Magic Flute”, and a trio by Franz
Anton Hoffmeister, a friend of Haydn,
Mozart and Beethoven who published music
by all three.
✣
✣
✣Tuesday, April 9,
2024 at 7:00 PM in
Conway ✣
✣
✣ Myers">
SPRINGTIME
BAROQUE:
AIRS for SPRING
Arwen
Myers
~
soprano
~
Elisabeth
Wright
~
harpsichord
~
Jeffrey
Cohan
~
baroque
flute ~
Johann
Sebastin Bach
Seele,
deine Spätzereien
(from
the Easter Oratorio)
Louis-Nicolas
Clérambault
Orphée
(Cantata)
George
Frideric Handel
Singe,
Seele & Flammende Rose
(from
9 German Arias)
Toussaint
Bordet
Recueil
D'Airs Avec Accompagnement de
Flute
(selections)
Francois Couperin
Les
Fauvétes Plaintives & La
Linote-éfarouchée
(harpsichord
solo)
✣
✣
✣Tuesday,
May 7, 2024 at
7:00 PM in
Conway ✣
✣
✣
RENAISSANCE
PSALMS,
IRISH
BAROQUE & FOLK
Oleg
TImofeyev
renaissance
lute, English guitar
&
7-string guitar (1820)
Jeffrey Cohan
renaissance
& baroque flutes
&
8-keyed flute (1820)
17th
Century
Nicolas
Vallet
Jacob
Van Eyck
Girolamo
Dalla Casa
18th
Century
James
Oswald
Francesco
Barsanti
Turlough
O'Carolan
19th
Century
Mauro
Giuliani
Louis
Drouet
Charles
Nicholson
This
program, in
three parts,
opens with
settings of
Psalms and
variations on
folk melodies
by early
17th-century
flutist Jacob
Van Eyck,
lutenist
Nicolas Vallet
and others
performed on renaissance
descant, tenor
and bass
transverse
flutes
and lute.
Then, baroque
flute and the
rare
but once quite
popular
wire-strung
English Guitar
of the 18th
century is to
be heard
performing the
folk tunes of
Scotland and
Ireland as
interpreted
and varied by
the early
18th-century
composers
Francesco
Barsanti,
Turlough
O'Carolan,
James Oswald
and others.
Finally, an
Eastern
European
7-string
guitar made in
1820 in Russia
alongside an
eight-keyed
flute made in
London in the
same year
bring to life
variations on
popular tunes
by Mauro
Giuliani,
Louis Drouet,
Charles
Nicholson and
other virtuoso
flutists and
guitarists of
Beethoven’s
day.
✣
✣
✣Tuesday,
May 28, 2024 at
7 PM in
Conway ✣
✣
✣
BAROQUE
CONCERTI
Carrie
Krause
~
baroque
violin ~
Jonathan
Oddie
~
harpsichord ~
Jeffrey
Cohan
~
baroque flute ~ Elizabeth
Phelps & Courtney
Kuroda
~
baroque
violin
~
Victoria
Gunn
~
baroque
viola
~
Martin
Bonham
~
baroque cello
~
JACQUES
AUBERT
Concerto
in D Major, Opus
26 No. 3
ANTONIO
VIVALDI
Flute
Concerto "La
Notte", Opus
10 No. 2
CARL
PHILIPP EMANUEL
BACH
Flute
Concerti in D
Minor, Wq 22a
JOHANN
SEBASTIAN BACH Triple
Concerto in A
Minor for
Harpsichord,
Violin and
Flute, BWV 1044
✣
✣Tuesday,
July 2, 2024
at 7:00 PM in
Conway ✣
✣
Johann
Sebastian
BACH
Faythe
Vollrath
~
harpsichord ~
Jeffrey Cohan
~
baroque flute
~
Harpsichordist
Faythe
Vollrath from
Sacramento, CA
will join
baroque
flutist
Jeffrey Cohan
for this
mostly-Bach
extravaganza
in the eighth
and final 2024
Salish Sea
Early Music
Festival
performance
demonstrating
the
unparalleled
mystery and
emotional
intensity of
Bach’s
compositional
abilities,
featuring
transcriptions
of his works
originally for
viola da gamba
and another
for violin,
both with
obbligato (or
fully
written-out)
harpsichord in
addition to
sonatas
originally
written for
flute by Bach
both with
continuo (a
bass line with
numbers
denoting
harmonies from
which the
harpsichordist
improvises)
and with
obbligato
harpsichord.
Faythe
Vollrath will
play
variations for
solo
harpsichord by
Johann Adam
Reinken
(1643-1722) on
the popular
German folk
tune
“Schweiget mir
von
Weibernehmen”
(‘shush, no
more talk
about
womanizing”).
Reinken was
greatly
admired by
Bach, who made
arrangements
of several of
his works.
Fantasia
11 by Giovanni Bassano (1585)
January 11, 2021
~ updated
March 22, 2025
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and flyers?!
Please sign our MAILING
LIST (please
specify Skagit)
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sending your address and any other
comments to salishseafestival@aol.com
~ thank you!
SSEMF
banner: detail from "The
Last Time it Reached Zero"
by James
C. Holl. SSEMF
presents outstanding early
chamber music
on period instruments thanks to
your support.
Myers">
