VASHON
ISLAND
EPISCOPAL CHURCH
OF THE HOLY SPIRIT
15420
Vashon Highway SW www.holyspiritvashon.org
Suggested
Donation:
$20 to $30
(a free will offering - everyone
welcome)
•
18
and under FREE •
SSEMF presents outstanding early chamber music on
Vashon Island 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 heatfelt thanks
✣ to
the Episcopal Church of the Holy Spirit
2025
Salish Sea Early Music Festival on Vashon Island ~
Period Instrument chamber music from six centuries
on Vashon Island and around the Salish Sea ~
~ Presented in
collaboration with the Episcopal Church of the Holy
Spirit ~
~
All Mondays at 12:00 NOON
★ 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.
★
★ ★
Monday,
June
29, 2025
at 12:00 NOON:
—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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Island)
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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
on period instruments thanks
to your support.
