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BALTIMORE
2018 Capitol Hill Chamber Music
Festival
~ 18th annual period instrument chamber music festival in Baltimore and in Washington, DC ~
The Capitol Hill Chamber 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.
Performances are to be repeated in Washington, DC and in Annapolis.
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1 • WINDS of the RENAISSANCE •
Tuesday afternoon, August 7, 2018 at 1:30 PM
Anna Marsh ~ dulcian (renaissance bassoon)
Jeffrey Cohan ~ renaissance flute
Billy Simms ~ theorbo — Baltimore Basilica, 409 Cathedral Street in Baltimore
The elusive dulcian and the
rarely heard renaissance transverse flute offer many essential
qualities, scarcely to be experienced today, that were sacrificed as
the bassoon and flute evolved to suit later 17th-century expectations.
Their sweetness, warmth, and pinpoint flexibility enable these
renaissance wind instruments to convey a powerful emotional impact.
These works for soprano and bass instruments together with an
accompanying theorbo (a long-necked lute) by Frescobaldi, Legrenzi,
Picchi, Bassano, Cima and Selma y Salaverde are not otherwise to be
heard on these instruments today
and we hope you'll join us.
PROGRAM
Tarquinio Merula (1594/5-1665) ~ Canzon 16. La Dada & Canzon 11. La Pighetta
– both from Canzoni overo Sonate Concertate per Chiesa, e Camera, Venice, 1637 (Opus 12)
Girolamo Frescobaldi (1583-1643) ~ Canzona Quarta, a due. Canto, e Basso.
– from Il primo libro delle canzoni, Rome, 1628
Andrea Cima
(1580-1627) ~ Sonata a 2. Per Cornetto & Trombone, overo Violino o Violone (No. 47) – from Concerti Ecclesiastici , Milan, 1610
Bartolomeo de Selma y Salaverde
(ca. 1595-after 1738) ~ Vestiva i colli, basso pasegiato (No. 15)
– from Secondo Libro, canzoni, fantasie & correnti, Venice, 1638
Giovanni Legrenzi
(1626-1690) ~ Sonata "La Donata" a due, violono e violone o faghotto
– from Sonate a due, e tre, Libro Primo, Opus 2, Venice, 1655
Giovanni Picchi
(ca. 1571-1643) ~ Canzon Seconda a 2
– from Canzoni da sonar con ogni sorte d'istromenti, Venice, 1625
Giovanni Bassano
(ca. 1561-1617) Ricercata Prima (solo flute)
– from Ricercate Passaggi et cadentie, Venice, 1585
Tarquinio Merula (1594/5-1665) ~ Canzone 14. La Capellinna & Canzone 17. La Monteverde
– both from Il Qvarto Libro delle Canzoni, Venice, 1651 (Opus 17)
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2 • ITALIAN 4-PART CANZONAS • 1580-1630
Sunday afternoon, August 12, 2018 at 1:00 PM
Marlisa del Cid Woods ~ violin
Risa Browder ~ viola
Anna Marsh ~ dulcian (renaissance bassoon)
Jeffrey Cohan ~ renaissance flute
— St. Ignatius Church, 740 N. Calvert Street in Baltimore
This program offers an
in-depth exploration of the rarely-heard Italian four-part canzona,
inspired by French and Flemish chansons from several decades earlier,
which blossomed in print from 1582 to 1628 concurrently with increasing
activity among violin makers and players in Milan, Brescia and Cremona,
and representing the transitional mannerist style which bridged the
renaissance and baroque styles in music.
Baroque winds, notably the transverse flute and bassoon,
experienced radical modifications and appeared only very late in the
17th century. This program provides an opportunity to experience the
convergence of the renaissance and the baroque in the context of an
evolving musical landscape, which differed greatly in France and Italy.
French songs for three and four parts by Crecquillon, Briault, Busnoys
and Boyvin, and Italian four-part canzonas by Cima, Biumi, Canale,
Buonamente, Maschera, Ardemanio are to be included in the program.
PROGRAM
Giacomo Filippo Biumi (fl. 1627) ~ Canzone Nona
Guilio Cesare Ardemanio (ca.1580-1650) ~ Canzone La Bona from Seconda aggiunta alli concerti (1588)
Giovanni Battista Buonamente (1595-1642) ~ Canzon 17 from Libro sesto (1636
Florentio Maschera (c. 1541-1584) ~ Selections from Libro Primo de Canzoni da Sonare (1584)
Canzon Decimaterza "La Girella"
Canzon Decimaquinta
Canzon Settima "La mazzuola"
Ph. Briault Je te preste ma cheminee
Thomas Crecquillon Content ou non il faut que je l'endure
Antoine Busnoys Le corps s'en va & le coeur vous demeure
(Antoine?) Boyvin Je cherche autant amour & le desire
Giovanni Battista Buonamente ~ Canzon 16 from Libro sesto (1636)
Floriano Canale (c.1550-c.1603) ~ Selections from Canzoni da Sonare (1600)
La Canobbia
La Gambara
La Porta
Giacomo Filippo Biumi ~ Canzone Prima
Giovannni Paulo Cima (1570-1622) ~ Capricio from Seconda aggiunta alli concerti (1588)
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3 • CLASSICAL TRIOS • Haydn, J.C. Bach, Devienne & Florio
Sunday afternoon, August 19, 2018 at 1:30 PM
Risa Browder ~ violin
John Moran ~ cello
Jeffrey Cohan ~ 8-keyed flute
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Baltimore Basilica, 409 Cathedral Street in Baltimore
Trios
for flute, violin and cello from the time of Mozart and Haydn,
including selections from the Library of Congress by Pietro Florio and
Joseph Tacet.
Peabody Conservatory of Music early music program directors violinist
Risa Browder and cellist John Moran are recent recipients of the 2018
Early Music America Thomas Binkley Award.
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Programs take place at the Baltimore Basilica and at St. Ignatius Church.
The suggested (pay-as-you-can) donation is $20 or $25.
Students 18 years of age and under are free.
Advance tickets are available at chcmf-baltimore.bpt.me and at the door. For further information please email chcmf@aol.com
Now in its 18th year, the Capitol Hill Chamber Music Festival
has since
2000 presented chamber music by familiar as well as little-known
composers from the Renaissance through the present on Capitol Hill in
period instrument performances which intend to shed new light upon
early performance practice as well as contemporary works. Unpublished
works from the Library of Congress are given particular attention, and
many have received their modern day premieres during these concerts, in
addition to premieres of works by Slovenian composers. The Capitol Hill
Chamber Music Festival is a nonprofit corporation in the District of
Columbia.
Please sign up for our Mailing List!
~ for additional concert information and to receive our emailings please write to:
chcmf@aol.com
updated on August 1, 2018.
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Critical Acclaim for CHCMF
"A
brilliant performance ... eloquently played ... close to the essence of
chamber music." [J. Reilly Lewis, John Moran and Jeffrey Cohan] Joseph
McLellan, The Washington Post, June 26, 2000
"A virtuoso at conveying myriad colors" ... "The audience clearly was
entranced ... flutist Jeffrey Cohan captivated young and old.” Cecelia
Porter, The Washington Post, July 14, 2001
"Baroque flutist Jeffrey Cohan and harpsichordist George Shangrow give
new meaning to the intimacy implicit in the genre of chamber music...
They have forged not only an exquisitely subtle collaboration but also
a common scholarly interpretation of how Bach would have had the music
performed.
"They responded intuitively to each other's rhythmic elasticity and
echoed each other's elaborate ornamentations with what sounded like
spontaneous inspiration... Almost as impressive was the silent
attentiveness that their musicmaking commanded.
"Bach may have been composing for a soft instrument with a very limited
dynamic range, but the music he produced was exuberant, joyous and
lyrical. It was these qualities that Cohan and Shangrow
communicated..." Joan Reinthaler, The Washington Post, July 16, 2002
"Jeffrey
Cohan has made Slovenian music a focal point of this year's Capitol
Hill Chamber Music Festival. The Capitol Hill Chamber Music Festival
got off to an exhilarating start Wednesday night at St. Mark's Church.
Marking the festival's sixth year, artistic director and flutist
Jeffrey Cohan assembled a trio of concerts that brought to public
attention some largely unknown works -- including two world premieres
-- by active composers from Slovenia. From piece to piece, Cohan's
artistry was evident as he breathed life into his instrument, seeming
to find no limit to its sonic possibilities, ways of articulating
phrases and modes of expressing composers' personal styles -- as in
Brina Jez's beautifully moody "Three Little Pieces." Chappell gave a
brilliant account of Kopac's Preludes for solo piano, and Cain's
sweetness of timbre and vocal power suited compositions by Brina Jez
and Kopac." Cecelia Porter, The Washington Post, August 5, 2005
Praise
for CHCMF
For Frederick the Great, a Concert
of the Same Quality WASHINGTON
POST Monday, July 2012
The second of two concerts in this year’s Capitol Hill Chamber Music
Festival, held at St. Mark’s Episcopal Church Sunday night, was devoted
to music from the Prussian court of Frederick the Great. The theme is a
timely one since Germany celebrates this year the 300th birthday of the
Prussian king who, besides being a brilliant military strategist, was
also a passionate musician. Fittingly, the festival’s artistic
director, Jeffrey Cohan, played a baroque flute that is a replica of an
instrument made for Frederick by his teacher, Johann Joachim Quantz,
now in the collections of the Library of Congress.
Cohan is a wonderful player who exploits all the richly expressive
potential of the baroque wooden flute with ease and subtlety. With his
partners, harpsichordist Joseph Gascho and cellist Gozde Yasar, Cohan
played sonatas by Carl Philipp Emanuel Bach, Georg Benda and Quantz —
all musicians employed by Frederick’s at his Potsdam palace, Sanssouci
— as well as a sonata by the monarch himself.
Late in his life, Johann Sebastian Bach visited Emanuel, the most
famous of his several composer sons, in Potsdam. “Old Bach” was given a
warm welcome at court, and Frederick asked Bach if he could improvise
on a theme he had composed. Bach complied, evidently to the king’s
satisfaction. But later, Bach used Frederick’s theme as the basis for
one of his late masterpieces, “The Musical Offering.” Selections from
this sublime work, along with a Bach violin sonata adapted for flute,
were the culmination of a thoughtfully conceived and most enjoyable
evening. -- Patrick Rucker
At St. Mark's,Good Things Come in Trios
WASHINGTON
POST
Thursday, July 2, 2009
It's
probably fanciful imagining a large audience turning up to hear obscure
chamber music at the height of summer vacation season. But the mere 29
heads I counted at St. Mark's Episcopal Church for Tuesday's Capitol
Hill Chamber Music Festival recital seemed an especially pathetic
showing for such a stylishly played evening. St. Mark's, one of
Washington's more strikingly beautiful and acoustically friendly
churches, added just the right bloom to the gentle buzz of the
festival's period instruments. Tuesday's program -- commemorating the
200th anniversary of the deaths of Haydn and his little-known
contemporary, Carl Wilhelm Glösch, and the 250th birthday of François
Devienne -- was predictable for a festival whose artistic director,
Jeffrey Cohan, is a specialist in baroque and classical flute: All five
pieces played were 18th-century trios for flute, violin and cello. If
such flute, flute and more flute programming produced an inevitable
sameness of tone, these lesser trios by the great Haydn, and great
trios by the lesser Glösch, Devienne and their contemporary Franz Anton
Hoffmeister met in a middle ground of high competence (the dark-hued
Devienne D Minor Trio marginally more memorable than the other scores),
and all were played with lived-in ease and affection. -- Joe Banno
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About the Performers
Baroque bassoonist ANNA MARSH
plays Renaissance, Baroque, Classical and Modern double‐reeds and
recorders. Originally from Tacoma, WA, Anna appears regularly
with Opera Lafayette (DC), Tempesta di Mare (Philadelphia), Ensemble
Caprice (Montreal), Clarion Society (NYC), Arion Orchestre Baroque
(Montreal), Tafelmusik (Toronto), Seattle Baroque Orchestra, Washington
Bach Consort (DC), and Musica Angelica (LA), among others. She
has been the featured soloist with the Foundling Orchestra with Marion
Verbruggen, Arion Orchestre Baroque, The Buxtehude Consort, The Dryden
Ensemble, The Indiana University Baroque Orchestra and others.
She co‐directs Ensemble Lipzodes and has taught both privately and at
festivals and master classes at the Eastman School of Music, Los
Angeles Music and Art School, the Amherst Early Music, and Hawaii
Performing Arts Festivals and the Albuquerque, San Francisco Early
Music Society and Western Double Reed Workshop. She has also been
heard on Performance Today, Harmonia and CBC radio and recorded for
Chandos, Analekta, Centaur, Naxos, the Super Bowl, Avie, and Musica
Omnia. Marsh has studied music and German studies at Mt. Holyoke
College, The Thornton School of Music at the University of Southern
California and Jacobs School of Music at Indiana University.
MARLISA DEL CID WOODS is highly acclaimed as a solo
artist, chamber musician, and orchestral violinist. She joined
Pershing’s Own United States Army Orchestra in 2000 upon completion of
her Master’s and Bachelor’s degrees at the Cleveland Institute of
Music. Her versatility in different styles has been featured in many of
the world’s leading venues - from Bluegrass at the White House to
Brahms Double Concerto at the Kennedy Center. Ms. Woods has performed
with the Cleveland Orchestra, National Symphony Orchestra, Concert
Artists of Baltimore, Alexandria Symphony, National Gallery Orchestra,
Canton Symphony, Youngstown Symphony, and the Erie Philharmonic. As a
baroque violinist, she has performed with Washington Bach Consort,
National Cathedral Baroque Orchestra, Bach Sinfonia, Apollo’s Fire,
Opera Lafayette, Harmonious Blacksmith, and the Vivaldi Project. Ms.
Woods can be heard on the Eclectra , Lyrichord, and Dorian labels. Her
most recent recording with the Bach Sinfonia and acclaimed lutenist
Ronn McFarlane was selected as CD pick of the week by WETA 90.9FM radio. RISA BROWDER’s interest
in historical performance on violin, viola and viola d’amore ranges
from the seventeenth century to the romantic era. After graduating
from Oberlin Conservatory and completing graduate studies at the Royal
College of Music in London, and the Schola Cantorum in Basel, Ms.
Browder began her professional career in Europe with Academy of Ancient
Music, English Concert, Les Musiciens du Louvre, Purcell Quartet, and
London Baroque among others. She has performed as soloist with the
Folger Consort, Washington Bach Consort (concertmaster), Capriole,
Boston Bach, Smithsonian Chamber Players, and REBEL. Ms. Browder is
co-director of Modern Musick, a period instrument chamber orchestra
which debuted in 2001 to high acclaim in Washington, DC. Recording
credits include Dorian, Chandos, Deutsche Grammophon, Virgin Classics,
and EMI. She also enjoys teaching and is on the faculty of the Peabody
Conservatory where she teaches baroque violin and viola and together
with her husband, John Moran, directs the Baltimore Baroque Band.
WILLIAM SIMMS, lute, theorbo & guitar, is an
active performer of early music performing on guitar, lute and theorbo.
He appears appears regularly with the Bach Sinfonia and performs with
Apollo's Fire, Harmonious Blacksmith, Olde Friends Concert Artists and
the Baroque Chamber Orchestra of Colorado. He has performed numerous
operas, canatatas and oratorios with such ensembles as Cleveland Opera,
the Baltimore Consort, Opera Lafayette, Opera Vivente, American Opera
Theatre and the Washington National Opera. Venues include The National
Cathedral, Museum of Fine Arts Boston, The Library of Congress, The
Corcoran Gallery, Wolftrap and The Kennedy Center. This past summer
Simms performed in Handel's Alcina at Wolftrap. He received a Bachelor
of Music degree from the College of Wooster and a Master of Music
degree from the Peabody Conservatory and serves on the faculties of
Towson University, Mt. St. Mary's University, Interlochen Arts Camp as
well as Hood College, where he is founder and director of the Hood
College Early Music Ensemble. He has recorded for the Dorian, Centaur
and Eclectra labels. Artistic Director and flutist JEFFREY COHAN has performed as
soloist in 25 countries, most recently Ukraine, Slovenia and Germany,
on all transverse flutes from the Renaissance through the present, and
has won the Erwin Bodky Award (Boston) and the top prize in the
Flanders Festival International Concours Musica Antiqua (Brugge,
Belgium), two of the most important prizes for period instrument
performance in America and Europe. He has premiered many concerti and
other works by Slovenian and American composers. He also directs the
Black Hawk Chamber Music Festival in Illinois and Iowa and the Salish
Sea Early Music Festival. He can “play many superstar flutists one
might name under the table” according to the New York Times, and is
“The Flute Master” according to the Boston Globe.
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