VANCOUVER
ST.
MARY'S KERRISDALE
2490 West 37th Avenue
· Vancouver
·
www.stmaryskerrisdale.ca
St.
St. Mary's Kerrisdale
Suggested Donation:
$20 to $30
(a free will offering - everyone
welcome)
•
18
and under FREE •
All
concerts at 7:00 PM

Stained
glass at St. Mary's
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 .
✣
Presented in collaboration with
St Mary's Kerrisdale Church
✣
|
2025
Salish Sea Early Music Festival in Vancouver
~
Period Instrument chamber music from six centuries
in Vancouver and around the Salish Sea ~
~ Presented in
collaboration with St. Mary's Kerrisdale ~
~
Tuesdays, Fridays &
Saturdays at 7:00 PM
★ download updated flyer here ~

Tuesday,
June 10,
2025 at 7:00
PM:
—FOLK
SONG FROM THREE CENTURIES II
Renaissance
Psalms, Scottish Baroque &
Folk
· Oleg Timofeyev,
renaissance lute, English guitar
& 7-string guitar (1820)
· Jeffrey
Cohan, renaissance,
baroque & 8-keyed flutes
(London, 1820)
Renaissance Psalms (~1620), Irish
and Scottish baroque (~1720) and
folk music as interpreted during
Beethoven's lifetime (~1820) in
part II, a 100% new program of
highly innovative renditions of
settings from three centuries
based on popular and folk music,
performed on 5 transverse flutes
and three plucked instruments.
In the early 17th century Flutist
Jacob Van Eyck and lutenist
Nicolas Vallet both wrote settings
of and variations on many of the
Psalm tunes from the Geneva
Psalter of the mid-16th century
that were widely sung in churches
100 years later. These are
juxtaposed simultaneously in a
manner that sheds new light on
early 17th-century 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. Likewise,
settings of the popular tunes
written specifically for the
English guitar by Scotsman Robert
Bremner and others are to be
heard, following settings from
several decades earlier of Irish
and Scottish popular melodies by
Burk Thumoth and Francesco
Barsanti on baroque flute and
lute.
Finally, an Eastern European
7-string guitar made in 1820 in
Russia and an eight-keyed flute
made in London in the same year
resonate to variations on popular
tunes by Englishman Charles
Nicholson, American Joseph
Kennedy, Austrian Anton Diabelli
and other virtuoso flutists and
guitarists of Beethoven’s day.
LISTEN:
Oleg Timofeyev and Jeffrey Cohan
play Drouet's God Save the
Queen on SoundCloud:
17th
Century
Nicolas
Vallet
Jacob
Van Eyck
18th
Century
James
Oswald
Francesco
Barsanti
Turlough
O'Carolan
19th
Century
Anton
Diabelli
I.T.
Norton
Friday, July 11 at
7:00 PM: — THE
18TH-CENTURY HARPSICHORD IN SPAIN
· 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.
Late July: — JOHANN
SEBASTIAN BACH (only
in Bellingham)
· Irene Roldàn,
harpsichord
· Jeffrey Cohan,
baroque flute
Spanish harpsichordist Irene Roldàn from
Basel and Jeffrey interpret Bach's
phenomenal music for flute and
harpsichord.

UKRAINE
Olena Zhukova
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.
|
~
Earlier concerts this 2025 season
~
Friday,
January 24, 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.

Friday,
February 28, 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."

Friday,
March 14,
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.
Tuesday,
May 6 at 7:00 PM:
— The
MUSIQUE DE LA CHAMBRE
of LOUIS XIV
· Caroline
Nicolas,
viola da gamba
· William
Simms,
baroque guitar
· Jeffrey
Cohan,
baroque flute
The
MUSIQUE DE LA CHAMBRE of
LOUIS XIV features music
by prominent soloists,
all composers, who
frequently played for
Louis XIV, including the
king’s guitar instructor
Robert De Visée and his
Italian predecessor
Francesco Corbetta,
along with a favorite
viola da gambist at the
court, Marin Marais and
his teacher Monsieur de
Sainte-Colombe, as well
as Élisabeth Jacquet de
La Guerre, a young
harpsichordist and one
of the few famous female
musicians of her time
whose playing and
compositions Louis
deeply admired and
subsidized.
This program stands
apart in a variety of
ways. Jeffrey Cohan
discovered the earliest
known French solo
specifically for the
transverse flute by the
king’s court music
librarian André Danican
Philidor L'Aisné in a
relatively unknown and
as yet unpublished
manuscript which was
prepared in 1695 by
Philidor himself as a
present from Louis XIV
for the Duke of Bavaria.
Marin Marais asserted
that his music for viola
da gamba might be played
on the transverse flute,
as is to be realized in
a Suite from his first
book of pieces for viola
da gamba. Similarly a
sonata by Jacquet de La
Guerre assumes new
resonance in our
realization for
transverse flute, gamba
and guitar. Caroline
Nicolas and William
Simms will perform solos
for viola da gamba and
guitar by De Visée,
Corbetta and
Sainte-Colombe.
The French musical
perspective emulated
reason and moderation,
with sensory perception
serving comprehension.
French musicians aspired
to thrill the senses via
the intellect, in a
continual search for
grace and elegance.
Dance was viewed as the
consummate expression of
the mastery of body and
mind and the epitome of
aristocratic art, as
evidenced by Louis XIV's
daily dance lessons for
20 years alongside
frequent guitar lessons.
Every French court and
church musician
reflected musically
their determination to
depict refinement and
true sentiments, while
dispensing with
excessive turbulence and
contrast. All of this
contrasted greatly with
the Italian focus on the
direct expression of
emotions via their
virtuoso and flamboyant
approach, which was
indeed admired in some
circles in France.
Tues,
May 20 at
7 PM: — CONCERTI
from the COURT of
FREDERICK THE GREAT
· David
Schrader,
harpsichord
· Jeffrey
Cohan,
baroque flute
· Elizabeth
Phelps,
baroque violin
· Courtney
Kuroda,
baroque violin
· Christine
Moran,
baroque viola
· Susie
Napper,
baroque cello
A concerto by Frederick
II, the monarch of Prussia
from 1740, will be
included alongside the
Suite in B Minor by Johann
Sebastian Bach, whose
visit to the king's court
in 1747 is legendary, and
concerti by Frederick's
keyboardist Carl Philipp
Emanuel Bach for both
harpsichord and flute.
|

~ updated
May 28, 2025 ~
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Sea Early Music Festival is
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