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
✣
|
2026
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 ~
~
All concerts at 7:00 PM
★ download 2026 flyer here
~
 Tuesday,
June
9, 2026
at 7:00
PM:
—JOHANN
SEBASTIAN BACH
· Irene
Roldàn, harpsichord
· Jeffrey Cohan,
baroque flute
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.
|
Thursday,
June
25, 2026
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.
★
★ ★
|
~
Earlier concerts this 2026
season
~
|
Tuesday,
January 20, 2026 at 7:00
PM:
 —
A
LITTLE CONCERT FOR LOUIS
XIV
· Y Hsuan
(Ethan) Lin,
baroque violin
· Vicki
Gunn,
baroque viola
· Jeffrey
Cohan,
baroque flute
· Anna
Marsh,
baroque bassoon
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.
★
★
★
|
|
Tuesday,
February 17, 2026 at 7:00
PM:
— The
ITALIAN and FRENCH
PERSPECTIVE
· Susie Napper
(Montreal), viola da gamba
· Olena Zhukova
(Kyiv, Ukraine),
harpsichord
· Mélisande
Corriveau
(Montreal), treble viol
· Jeffrey Cohan,
renaissance &
baroque flutes
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.
LISTEN:
Les Voix Humaines
plays
|
CANCELLED:
 Friday,
February 27, 2026 at 7:00
PM:
— EUROPEAN
TOUR 1690-1790
· Olena
Zhukova,
harpsichord
· Jeffrey
Cohan, baroque
flute
We
deeply regret cancelling
this performance due to a
Canada visitor visa issue
and very much look forward
to Ms. Zhukova's
performances with us next
year.
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.
★
★
★
|
Tuesday,
March
24, 2026
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)
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:
★
★ ★
|
Friday,
April
24, 2026
at 7:00
PM:
—TELEMANN
PARIS QUARTETS
· 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."
|
Tueday,
May
12, 2026
at 7:00
PM:
—BACH
& HANDEL
·
Maike
Albrecht,
soprano
·
Hans-Jürgen
Schnoor,
harpsichord
·
Susie Napper
(Montreal), viola da
gamba
· Jeffrey
Cohan,
baroque flute
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.
|
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."
★ ★
★ ★ ★
★ ★ ★
★ ★ ★
★
|
