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 ~
Friday,
July 11, 2025 at
7:00 PM:
— THE
18TH-CENTURY
HARPSICHORD IN
SPAIN
· Irene
Roldàn, harpsichord
Sebastián
de Albero (1722-1756)
Recercata
prima – Fuga prima
–
Sonata primae
Antonio
Soler (1729 - 1783)
Preludio
IV in F minor
Preludio
I in D minor
Preludio III in C
Major
Carlos
Seixas
(Portugal,
1704 – 1742)
Sonata
in F minor –
Moderato
Minuet in F
major
Sonata in F
minor– Allegro
José
de Nebra (1702
– 1768)
Sinfonia
II in E minor
Sinfonia
VIII in C
Major-minor
Félix
Máximo López
(1742 - 1821)
Variaciones
del Fandango
espanol
The
listener will step into the
heart of 18th-century Iberia,
where the vibrant court of
Madrid stood as a focal point
for the flourishing of rich
keyboard music. Domenico
Scarlatti, with his masterful
keyboard sonatas, cast a
considerable shadow over
contemporaneous composers
unfairly labeled as mere
imitators. Sebastian de Albero,
Jose de Nebra, and the
Portuguese Carlos Seixas forged
unique voices while
incorporating a wide range of
influences into their work, from
the Spanish Golden Age and
Iberian folklore to Italian
virtuosity. Hidden gems, like
Nebra's symphonies, await
discovery. As Scarlatti's
sonatas remain iconic, the
listener will delve into the
overlooked brilliance of these
composers, poised for a deserved
spotlight in the keyboard
repertoire.
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.

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.

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
|

~ updated
June 19, 2025 ~
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~ thank you!
SSEMF banner: detail
from "The Last Time it
Reached Zero" by James C.
Holl.

SSEMF presents
outstanding
early chamber
music thanks
to your support.

The
Salish
Sea Early Music Festival is
proud to be an affiliate
organization of Early Music
America, which develops,
strengthens, and celebrates
early music and historically
informed performance in North
America.
All
donations
through EMA (please see
www.earlymusicamerica.org) are
fully tax-deductible. Be sure to
designate your gift for "EMA
Affiliate Organization" and
specify that it is for the
Salish Sea Early Music Festival.
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