SKAGIT
VALLEY TRINITY ANGLICAN
CHURCH
· 1200
Cleveland Ave MOUNT VERNON
We are grateful to
Trinity Anglican Church
for graciously offering to provide
a home for our concerts while
Fir-Conway Lutheran Church ungergoes extensive
renovations.
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 heartfelt thanks
✣ to
Trinity Anglican Church
2026 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 Trinity Anglican Church ~
~
All Wednesdays at 7:00 PM in Mount
Vernon
★ download 2026 flyer here
~
André
Danican Philidor l'ainé, the
aging Louis XIV's long-time music
librarian, prepared the
king's favorite operas and ballets
alongside chamber music by Lully
and Philidor himself
for little evening concerts given
before his majesty, all reduced for a
smaller number of musicians who
presented these grand works in the
intimate setting greatly preferred
during this period by the king, at
least a quarter of a century after the
death of the composer of most of these
works, Jean-Baptiste Lully.
Olena Zhukova from Kyiv
and Les Voix humaines, the
widely celebrated
prize-winning duo of viols
from Montreal join us for
a program illuminating a
radically evolving musical
perspective through the
17th century.
— EUROPEAN
TOUR 1690-1790
· Olena
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
Ukraine,
France, Italy, Scotland,
Germany and Austria with music
by Berezofzkyj, Boismortier,
Corelli, Oswald, Mozart and
Bach.
Olena Zhukova of
Kyiv, Ukraine, a leading
harpsichordist and a
tireless ambassador for
early music in her
country and abroad,
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 for
harpsichord composed
in part for
her by today's Ukrainian
composers, for Columbia
University’s Global
Center in Paris
and its Institute
for Ideas and
Imagination.
Innovative
renditions of renaissance
Psalms (~1620), Irish and
Scottish baroque (~1720)
and folk music as
interpreted during
Beethoven's lifetime
(~1820) outlines this 100%
new program continuing
Oleg and Jeffrey's
exploration of settings
from three centuries of
popular and folk music,
performed on 5 transverse
flutes and three plucked
instruments.
Two experiments in
particular are worth of
mention. In the early 17th
century Flutist Jacob Van
Eyck and lutenist Nicolas
Vallet both wrote settings
of many of the Psalm tunes
from the Geneva Psalter of
the mid-16th century.
Timofreyev and Cohan
juxtapose these in a
manner that sheds new
light on early
17th-century
improvisational practice.
James Oswald's "Airs for
the Seasons" consists of
four collections, one for
each season, of about 24
airs or multi-movement
suites, each dedicated to
a particular flower of the
season and radiating the
charming character of the
folk melodies of Oswald's
native Scotland. The wire
strung English guitar, so
rarely to be heard today,
emerged around this time
as one of the most
prominent instruments of
home life in England, and
Oswald's airs beautifully
suit Oleg's instrument
made in 1767 alongside the
one-keyed baroque flute.
LISTEN:
Oleg
Timofeyev and Jeffrey
Cohan play Drouet's God
Save the Queen on
SoundCloud:
· David
Greenberg,
baroque violin
· Susie
Napper,
viola da gamba
· Elisabeth
Wright,
harpsichord
· Jeffrey
Cohan,
baroque flute
Six
quatuors
(1730):
Concerto
1 in G
Sonata
1 in A
Suite
1 in e
Nouveaux
quatuors en six
suites (1738): 2e.
Quatuor in A Minor
Telemann composed his
12 brilliant “Paris
Quartets” in Hamburg
and then Paris in
response to a request
in 1730 from the most
famous Parisian flute,
violin and cello
virtuosi which
resulted in his most
significant journey
away from home during
his lifetime. This
year we present four
new quartets, to
include a selection
from each of his four
sets of quartets in
sonata, suite and
concerto format.
"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."
Vocal masterworks to
be presented include 6
of Handel's 9 exquisite
German Arias,
selected arias from
cantatas by Bach, his
Italian Concerto
for solo harpsichord,
and flute sonata by
Handel and Bach's
cantata Ich habe
genug.
★
★
★
Thursday,
May 21, 2026 in
Seattle only:
at 7:00 PM (not 7:30!)
•
—GOLDBERG
VARIATIONS
·
Hans-Jürgen
Schnoor,
harpsichord
Hans-Jürgen Schnoor,
often organist at the
St. Marien Kirche to
which Bach walked for
three days to hear
Dietrich Buxtehude,
has performed the
Goldberg Variations
more than 125 times,
possibly more than any
other living
harpsichordist.
Award-winning
harpsichordist Irene
Roldán (www.ireneroldan.com)
was born in southern Spain in
1997. Described by the press
as one of the most prominent
Spanish harpsichordists on the
international scene (ABC
Sevilla), Irene currently
lives and works in Basel,
Switzerland. She gained
international recognition in
2021, when she won first
prize, never previously
awarded in this competition,
as well as the audience prize
at the III. International
Harpsichord Competition «Città
di Milano». In the same year,
her ensemble Flor Galante
secured the first prize at the
IV. International Bach
Competition in Berlin. One
year later, Irene was honored
with the prestigious Bach
Prize and an additional
special award at the XXXIII.
International Bach Competition
held in Leipzig, Germany.
Irene
Roldàn’s
participation
in these
performances
has been made
possible with
help from the
Honorary
Consulate of
Spain in
Seattle and
from to the
Programme for
the
Internationalisation
of Spanish
Culture (PICE)
of Acción
Cultural
Española
(AC/E), which
seeks to
promote
Spanish
culture
through the
inclusion of
Spanish
artists and
creators
residing in
Spain in the
programming of
cultural
events outside
of Spain.
★
★
★
Wednesday,
July
1, 2025
at 7:00 PM:
—PARDESSUS
DE VIOLE, FLUTE & GUITAR
· Annalisa
Pappano,
pardessus de viol and treble
viol
· William Simms,
baroque guitar and theorbo
· Jeffrey Cohan,
baroque flute
The
French royal court musical
establishment generated a vast
amount of music, to be
represented by works of
Jean-Baptiste Lully, Élisabeth
Jacquet de La Guerre, Marin
Marais, Jacques Hotteterre and
others.
★
★ ★
★
★
★
★
★
★
★
★
★
★
★
★
In
1676, Thomas Mace expresses our
musical aspirations: "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."
Sloane
wrote in about 1794 that "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…"
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."
★
★
★ ★
★
★ ★
★
★ ★
★ ★
Fantasia
11 by Giovanni Bassano (1585)
January 11, 2021
~ updated
January 11, 2026
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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.
We are grateful to 
