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EARLY MUSIC AMERICA

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ST. ANNE'S CHURCH
LIVE ARTS MARYLAND

St. Mark's Episcopal Church
on Capitol Hill

St. Mark's Episcopal Church



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WASHINGTON, D.C.
2018 Capitol Hill Chamber Music Festival
~ 18th annual period instrument chamber music festival on Capitol Hill ~


All concerts take place at 7:30 PM at St. Mark's Episcopal Church at 3rd & A Streets, SE in Washington, DC
 behind the Library of Congress on Capitol Hill. Certain performances will be repeated in Annapolis and Baltimore

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.
~ 18th annual period instrument chamber music festival on Capitol Hill in Washington, DC ~
Early Music Ameriica

.
 
 1 • WINDS of the RENAISSANCE •


Anna Marsh, dulcianAnna Marsh, dulcianFriday, August 10, 2018 at 7:30 PM
     Anna Marsh ~ dulcian (renaissance bassoon)
     Jeffrey Cohan ~ renaissance flute
   
Billy Simms ~ theorbo

       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)



  2 • ITALIAN 4-PART CANZONAS 1580-1630


renaissance flutist Dirk de Quade Ravesteyn c1600dulcianTuesday, August 14, 2018 at 7:30 PM
     Marlisa del Cid Woods ~ violin
     Risa Browder ~ viola
     Anna Marsh ~ dulcian (renaissance bassoon)
     Jeffrey Cohan ~ renaissance flute
 
     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.


17th-century violinist    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)



 3 • THE ABLE VIRTUOSO • Johann Mattheson's "Der Brauchbare Virtuoso" and the Italian, French and German styles

   William Simms
Marlisa WoodsFriday, August 17, 2018 at 7:30 PM
     Marlisa del Cid Woods ~ baroque violin
     Billy Simms ~ theorbo
     Jeffrey Cohan ~ baroque flute
        
    Johann Mattheson's "Der Brauchbare Virtuoso" ("The Able Virtuoso"), published in Hamburg in 1720, sets the tone for this colorful and contrasting program of Italian, French and German trio sonatas illustrating regional modes of composition and performance that were quite distinct in the 18th century, and the dialogue between them. Music by Italians Archangelo Corelli and Pietro Locatelli, French composers Antoine Dornel and Joseph Bodin de Boismortier, and Germans Johann Sebastian Bach and Johann Mattheson will be featured in this virtuoso survey of the great variety of musical style in early 18th century Europe. Bach’s trio sonata, which sandwiches a slow movement from one of his flute sonata slow movements between two movements of an organ trio sonata, exists in a relatively unknown 18th century manuscript and most likely represents a clever transcription although, as Bach frequently re-purposed earlier works, it could well be a copy of the original version from which the works with which we are familiar today originated.

    PROGRAM
Antoine Dornel (1685-1765)  ~  IVe Suite in D Major from Livre de Simphonies
Joseph Bodin de Boismortier (1689-1755)
  ~  Sonata III in D major
Johann Mattheson (1681 – 1764)
  ~  Sonata II in G Major from Der Brauchbare Virtuoso (The Able Virtuoso), Hamburg, 1720 (violin and theorbo)
Pietro Locatelli (1695-1764)
  ~  Sonata V in D
Johann Mattheson
 Sonata I in D Major from Der Brauchbare Virtuoso (flute and theorbo)
Archangelo Corelli (1653 – 1713)
  ~  Sonata VI in G Major, Opus 3



4 • CLASSICAL TRIOS •  Haydn, J.C. Bach, Devienne & Florio 


Risa Browder & John MoranJeffrey Cohan  Sunday, August 19, 2018 at 7:30 PM
    Risa Browder ~ violin
    John Moran ~ cello
    Jeffrey Cohan ~ 8-keyed flute
        
 
    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.



flute
Programs take place at 7:30 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.

Advance tickets are available at chcmf.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.



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.
     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.