* CHCMF 2018
CHCMF 2017
CHCMF 2016
* CHCMF 2015
* CHCMF 2014
* CHCMF 2013

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Eerly Music in DC


St. Mark's Episcopal Church
on Capitol Hill

St. Mark's Episcopal Church

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2019 Capitol Hill Chamber Music Festival
~ 19th annual period instrument chamber music festival on Capitol Hill ~

The ninteenth annual 2019 Capitol Hill Chamber Music Festival features representations of two drastically different musical landscapes a century apart with period instrument specialists including
baroque and renaissance bassoonist Anna Marsh, Pershing's Own US Army Orchestra violinist Marlisa
Woods, harpsichordist John Walthausen from Philadelphia and artistic director and baroque and renaissance flutist Jeffrey Cohan.

Both concerts take place at 8:00 PM at St. Mark's Episcopal Church at 3rd & A Streets,
SE in Washington, DC behind the Library of Congress on Capitol Hill.

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.
~ 19th annual period instrument chamber music festival on Capitol Hill in Washington, DC ~
Early Music Ameriica


Anna Marsh, dulcianThe Bassoonist by Harmen HalsWednesday, September 25, 2019 at 8:00 PM
     Anna Marsh ~ dulcian (renaissance bassoon)
     Jeffrey Cohan ~ renaissance flute
John Walthausen ~ harpsichord

       Anna Marsh, baroque bassoonist with the Washington Bach Consort, is in constant demand as one of the nation's premier players of the baroque bassoon. Baroque flutist Jeffrey Cohan has won two of the most prestigious awards for performers of early music on period instruments and has appeared as soloist on flutes from the renaissance through the present all over the globe. The two team up with Philadelphia harpsichordist and Washington Bach Consort regular John Walthausen to present early 18th-century chamber music for wind instruments and harpsichord from France, Italy, Germany and Great Britain by Jacques Hotteterre, Joseph Bodin de Boismortier, George Frederick Handel, Giovanni Benedetti Platti and Johann Sebastian Bach.


renaissance flutist Dirk de Quade Ravesteyn c1600dulcianSunday, September 29, 2019 at 8:00 PM
     Marlisa del Cid Woods ~ violin
     John Walthausen ~ harpsichord
     Anna Marsh ~ dulcian (renaissance bassoon)
     Jeffrey Cohan ~ renaissance flute
     This program offers an in-depth exploration of the canzonas and sonatas for two soprano and one bass solo instruments and supporting continuo (violin, flute, dulcian and harpsichord) from the early 17th century.
     The Italian canzona, inspired by French and Flemish chansons from the early 16th century, blossomed in print from 1582 to 1628 concurrently with increasing activity among violin makers and players in Milan, Brescia and Cremona. It was the central manifestation of the transitional mannerist style in instrumental music which bridged what we think of as renaissance and baroque styles in music.
     Wind instruments, notably the transverse flute and the dulcian or renaissance bassoon, experienced radical modifications in tone and technique late in the 17th century that sacrificed many essential qualities as they evolved to suit later expectations. This program provides an opportunity to experience their early 17th-century characteristics, which we associate today with the Renaissance, in the context of an evolving musical landscape and the convergence of renaissance and baroque.
     Among the composers to be represented are the organist Giovanni Legrenzi, organist and violinist Tarquinio Merula, violinists Marco Uccellini and Giovanni Battista Buonamente and the dulcian virtuoso Bartholome de Selma y Salaverde, all from the early and mid-17th century.

17th-century violinist    PROGRAM
Tarquinio Merula (1595-1665) ~    Canzone 19. La Pusteria, from Il Quarto Libro delle Canzoni, Op.17 (Venice, 1651)
Tarquinio Merula ~ Sonata 3. 28, from Il Quarto Libro delle Canzoni
Giovanni Legrenzi (1626-1690) ~ La Brembata (La Bernarda), from Suonata da Chiesa, e da Camera, Opera Quarta (Venice, 1652)
Andrea Falconieri (ca.1586?-1656) ~ Passacalle, from Il Primo Libro (Naples, 1650) 
b (1607-1683) ~ Sonata sopra La Monica for dulcian and harpsichord, from Sacra Partitura (1651)
Giovanni Battista Buonamente (1595-1642)  ~ 11. Sonata à 3, from Sonate, et Canzoni, Libro Sesto (Venice, 1636)

~ intermission ~

Adam Jarzebski (d. 1648 or 1649) ~ In te Domine, speravi (diminutions on a canzona by Merula for violin, dulcian & theorbo)
Tarquinio Merula ~ Canzon 24. La Valcharenga, from Canzoni Op.17
Tarquinio Merula ~ Sonata 1. 26. La Sartoria, from Canzoni Op. 17
Bartolome de Selma y Salaverde (ca.1595 after 1638) ~ Canzon Prima Soprano, Solo, from Canzoni fantasie et correnti (Venice, 1638)
Giovanni Battista Buonamente ~ Sonata Sesto sopra Rugiero, from Sonate, Libro Sesto
Giovanni Battista Buonamente ~ 9. Sonata Prima à 3, from Sonate, Libro Sesto

Programs take place at 8:00 PM at St. Mark's Episcopal Church at 3rd & A Streets
just behinfd the Library of Congress on Capitol Hill.

The suggested (pay-as-you-can) donation is $20 or $25. Students 18 years of age and under are free.

For further information please email

Now in its 19th 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 and an affiliate organization of Early Music America.

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updated on September 12, 2019.

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

  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.

     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.

     Harpsichordist JOHN WALTHAUSEN has been heard in concert throughout Europe in Paris, Chartres, Poitiers, Toulouse, Hamburg, Milan, Treviso, Innsbruck, Basel, and Zurich. From 2015 to 2016, he served as Organist in Residence at Sapporo Concert Hall in Hokkaido, where he performed and recorded in cities across Japan. In 2016, Sapporo Concert Hall released his debut disc, “De Fil en Aiguille.” Recent North American recitals include appearances in New York, Boston, New Orleans, Victoria (British Columbia) and Washington DC. He has also appeared in the Pacific Baroque Festival, Paris-des-Orgues, Toulouse-les-Orgues, the Toul Bach Festival, and the Internationale Meisterorganisten in Innsbruck. He regularly appears as an accompanist and continuo player with ensembles such as the Washington Bach Consort, New York Baroque, and the St. Peter’s Collegium.
     In 2012, he then won first prize at the Pierre de Manchicourt International Organ Competition in Béthune, France, a competition devoted particularly to North German music of the seventeenth and eighteenth centuries. In 2009 he was awarded first prize in the American Guild of Organists’ Regional Competition for Young Organists. He earned his bachelor’s degree from Oberlin College, and in 2011 he earned a master's with highest honors at the Conservatoire National Supérieur de Paris following study with organists Olivier Latry and Michel Bouvard. In 2015, he studied harpsichord with Jörg-Andreas Bötticher and organ with Lorenzo Ghielmi at the Schola Cantorum of Basel, Switzerland where he was awarded a Master’s in Historical Performance. Walthausen currently serves as Organist and Choirmaster at St. Andrew’s Episcopal Church in Glenmoore, Pennsylvania.