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 special 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 updated
flyer here ~
Monday,
May 5 at 12:00 NOON:
— 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yet unpublished manuscript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.
Tuesday,
May 13 (was May
26) at 12:00 NOON: — CONCERTI
from the COURT of FREDERICK THE
GREAT (please
note revised date)
· 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.
Monday, June 9
at 12:00 NOON: — FOLK
SONG FROM THREE
CENTURIES II
· Oleg
Timofeyev,
renaissance lute,
English guitar &
7-string guitar (made
in 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 a new
program of highly
experimental
renditions of popular
music from three
centuries performed on
5 transverse flutes
and three plucked
instruments.
Early July: — THE
18TH-CENTURY HARPSICHORD IN
SPAIN
· Irene
Roldàn,
harpsichord
(only in Tacoma July 9 and
Seattle July 10)
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.
[only in certain locations]
Monday, July 14
at 12:00 NOON: — JOHANN
SEBASTIAN BACH
· 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
~
Monday,
January 20, 2025 at
12:00 NOON: — 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.
Monday,
February 24,
2025 at 12:00 NOON:
— 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."
Monday,
March 10,
2025 at 12:00 NOON:
—
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.
~
Last Season
~
✣
✣
✣Monday,
JANUARY 22, 2024 at 12:00 NOON on Vashon
Island ✣
✣
✣
THREE
CENTURIES:
GUITAR,
THEORBO & FLUTE
Michael
Freimuth
~
renaissance guitar & theorbo ~
Jeffrey Cohan
~
renaissance & baroque flutes ~
16th
Century
Diego
Ortiz • William Byrd
Giovanni
Bassano
Girolamo
Dalla Casa
17th
Century
Giovanni
Paulo Cima
Girolamo
Frescobaldi
Giovanni
Battista Fontana
Giovanni
Battista Buonamenti
Bartolomé
de Selma y Salaverde
18th
Century
Arcangelo
Corelli
• André Chéron
Robert
de Visée
Join
us for the opening 2024 Salish Sea Early
Music Festival and an unusual and
expansive journey through the music for
guitar, lute and flute of the 16th, 17th
and 18th centuries, including elaborate
jazzed-up versions of well known songs of
the time, published by the incredible wind
instrument virtuosi of the late 16th
century, along with canzonas, sonatas and
suites from Spain, Italy, England and
France. The instruments include the
renaissance guitar, which is considerably
smaller and more mellow-toned than its
modern descendant, theorbo (an extremely
long-necked lute), the one-piece
cylindrical renaissance flute along with
the bass renaissance flute, and the
one-keyed baroque flute.
✣
✣
✣Tuesday,
February 13, 2024 at 12:00 NOON on
Vashon ✣
✣
✣
SIMPHONIE
NOUVELLE:
LOUIS
XIV & J.S. BACH
Stephen
Stubbs
~ baroque
guitar ~
Susie
Napper
~
viola da gamba ~
Jeffrey
Cohan
~
baroque flute ~
guitarists
Diego
Francesco Corbetta (1615-1681) Robert
De Visée (c.1655-1733) viola
da gambists
Monsieur
de Sainte Colombe (c.1640-c.1700) Marin
Marais (1656-1728) Jacques
Morel (c.1680-c.1740) flutist
Michel
de la Barre (c.1675-1745) composers
Élisabeth
Claude Jacquet de la Guerre (1665-1729)
François Couperin (1668-1733) Johann
Sebastian Bach (1685-1750)
Louis
XIV gathered the finest musicians of France
at his court in Versailles and this program
features many of the late 17th and early
18th-century guitarists, viola da gambists,
flutists and other composers associated with
his illustrious musical establishment,
alongside the Sonata in E Minor, BWV 1034 of
Johann Sebastian Bach.
✣
✣
✣Friday
eve, February 23, 2024 at 7:00
PM on Vashon ✣
✣
✣
GEORG
PHILIPP TELEMANN:
PARIS QUARTETS
David
Greenberg
~
baroque
violin ~
Elisabeth
Wright
~
harpsichord ~
Susie
Napper
~
viola da gamba ~
Jeffrey
Cohan
~
baroque flute ~
Quadri
a violino, flauto traversiere, viola
da gamba
o violoncello, e fondamento (1730):
Concerto
II in D Major
Sonata
II in G Minor
Nouveaux
quatuors en six suites (1738):
Premier
Quatuor in D Major 4e.
Quatuor in B Minor
Having been invited by several of
the most prominent French
musicians to visit Paris, Telemann
composed and published the first
set of his remarkable "Paris
Quartets" in 1730, and left
Hamburg for Paris seven years
later, where all 12 of the
quartets were performed, almost
surely with Teleman himself on the
harpsichord. The second set of
quartets was published in Paris
during this visit in 1738. Two
years later Telemann related the
following:
"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."
✣
✣
✣Monday,
March 25, 2024 at 12:00 NOON on
Vashon Island ✣
✣
✣
FRANZ
JOSEPH HAYDN
TRIOS
Jeffrey
Cohan
~
8-keyed flute ~
Lindsey
Strand-Polyak
~
baroque
violin ~
Martin
Bonham
~
baroque cello ~
Franz
Joseph Haydn
Wolfgang
Amadeus Mozart
Franz
Anton Hoffmeister
François
Devienne
As
the most celebrated composer in all of
Europe for much of his career, Franz Joseph
Haydn (1732-1809) was Mozart’s mentor and
friend as well as Beethoven’s tutor. The
program will include three trios for flute,
violin and cello by Haydn, selections from a
1795 arrangement for these instruments of
Mozart’s opera “The Magic Flute”, and a trio
by Franz Anton Hoffmeister, a friend of
Haydn, Mozart and Beethoven who published
music by all three.
✣
✣
✣Monday,
April 8, 2024 at NOON on
Vashon Island ✣
✣
✣ Myers">
SPRINGTIME
BAROQUE:
AIRS for SPRING
Arwen
Myers
~
soprano
~
Elisabeth
Wright
~
harpsichord
~
Jeffrey
Cohan
~
baroque
flute ~
Johann
Sebastin Bach
Seele,
deine Spätzereien
(from
the Easter Oratorio)
Louis-Nicolas
Clérambault
Orphée
(Cantata)
George
Frideric Handel
Singe,
Seele & Flammende Rose
(from
9 German Arias)
Toussaint
Bordet
Recueil
D'Airs Avec Accompagnement de
Flute
(selections)
Francois Couperin
Les
Fauvétes Plaintives & La
Linote-éfarouchée
(harpsichord
solo)
✣
✣
✣Monday, May 6, 2024
at 12:00 NOON on
Vashon ✣
✣
✣
RENAISSANCE
PSALMS,
IRISH
BAROQUE & FOLK
Oleg
TImofeyev
renaissance
lute, English guitar
&
7-string guitar (1820)
Jeffrey Cohan
renaissance
& baroque flutes
&
8-keyed flute (1820)
17th
Century
Nicolas
Vallet
Jacob
Van Eyck
Girolamo
Dalla Casa
18th
Century
James
Oswald
Francesco
Barsanti
Turlough
O'Carolan
19th
Century
Mauro
Giuliani
Louis
Drouet
Charles
Nicholson
This
program, in three parts,
opens with settings of
Psalms and variations on
folk melodies by early
17th-century flutist
Jacob Van Eyck, lutenist
Nicolas Vallet and
others performed on renaissance
descant, tenor and
bass transverse flutes
and lute. Then, baroque
flute and the rare
but once quite popular
wire-strung
English Guitar of the
18th century is to be
heard performing the
folk tunes of Scotland
and Ireland as
interpreted and varied
by the early
18th-century composers
Francesco Barsanti,
Turlough O'Carolan,
James Oswald and others.
Finally, an Eastern
European 7-string guitar
made in 1820 in Russia
alongside an eight-keyed
flute made in London in
the same year bring to
life variations on
popular tunes by Mauro
Giuliani, Louis Drouet,
Charles Nicholson and
other virtuoso flutists
and guitarists of
Beethoven’s day.
✣
✣
✣Monday noon, May 27,
2024 at NOON on Vashon
Island ✣
✣
✣
BAROQUE
CONCERTI
Carrie
Krause
~
baroque
violin ~
Jonathan
Oddie
~
harpsichord ~
Jeffrey
Cohan
~
baroque flute ~ Elizabeth
Phelps & Courtney
Kuroda
~
baroque
violin ~
Victoria
Gunn
~
baroque
viola ~
Martin
Bonham
~
baroque cello ~
JACQUES
AUBERT
Concerto
in D Major, Opus 26 No. 3
ANTONIO
VIVALDI
Flute
Concerto "La Notte",
Opus 10 No. 2
CARL
PHILIPP EMANUEL BACH
Flute
Concerti in D Minor,
Wq 22a
JOHANN
SEBASTIAN BACH Triple
Concerto in A Minor for
Harpsichord, Violin and
Flute, BWV 1044
✣
✣Monday, July
1, 2024 at 7:00 PM
on Vashon Island ✣
✣
Johann
Sebastian
BACH
Faythe
Vollrath
~
harpsichord ~
Jeffrey Cohan
~
baroque flute ~
Harpsichordist
Faythe Vollrath
from Sacramento,
CA will join
baroque flutist
Jeffrey Cohan
for this
mostly-Bach
extravaganza in
the eighth and
final 2024
Salish Sea Early
Music Festival
performance
demonstrating
the unparalleled
mystery and
emotional
intensity of
Bach’s
compositional
abilities,
featuring
transcriptions
of his works
originally for
viola da gamba
and another for
violin, both
with obbligato
(or fully
written-out)
harpsichord in
addition to
sonatas
originally
written for
flute by Bach
both with
continuo (a bass
line with
numbers denoting
harmonies from
which the
harpsichordist
improvises) and
with obbligato
harpsichord.
Faythe Vollrath
will play
variations for
solo harpsichord
by Johann Adam
Reinken
(1643-1722) on
the popular
German folk tune
“Schweiget mir
von
Weibernehmen”
(‘shush, no more
talk about
womanizing”).
Reinken was
greatly admired
by Bach, who
made
arrangements of
several of his
works.
Fantasia
11 by Giovanni Bassano (1585)
January 11, 2021
~ updated
April 28, 2025 ~
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flyers?!
Please sign our MAILING LIST (please specify Vashon
Island)
by sending your
address and any other comments to salishseafestival@aol.com
~ 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.
Tuesday,
May 13 (was May
26) at 12:00 NOON: — CONCERTI
from the COURT of FREDERICK THE
GREAT 
Myers">
