2016 Capitol Hill Chamber Music Festival
~ In memory of J. Reilly Lewis, our 16th annual period instrument chamber music festival ~

Dear Friends,

We are deeply moved by the loss of our dear friend J. Reilly Lewis, who has provided such continual and lasting inspiration. We celebrate his life in a program of works by Johann Sebastian Bach, the single musician with whom he is so intimately associated, and in this year's series of three performances of early chamber music on period instruments, all dedicated to Reilly.

 1 • VERSAILLES • Louis XIV's Musicians
* CHCMF 2014
* CHCMF 2013
* CHCMF 2012
* CHCMF 2011
* CHCFM 2010
* CHCMF 2009
* CHCMF 2008
* CHCMF 2007
* CHCMF 2006
* CHCMF 2005
* CHCMF 2004

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2016 Capitol Hill Chamber Music Festival
~ In memory of J. Reilly Lewis, our 16th annual period instrument chamber music festival ~

Dear Friends,

We are deeply moved by the loss of our dear friend J. Reilly Lewis, who has provided such continual and lasting inspiration. We celebrate his life in a program of works by Johann Sebastian Bach, the single musician with whom he is so intimately associated, and in this year's series of three performances of early chamber music on period instruments, all dedicated to Reilly.

 1 • VERSAILLES • Louis XIV's Musicians

Louis XIV  Friday, July 1, 2016 at 7:30 PM
Tina Chancey ~ viola da gamba & pardessus de viole
       Billy Simms ~ theorbo & baroque guitar
       Jeffrey Cohan ~ baroque flute
     We open the 2016 Capitol Hill Chamber Music Festival with a taste of the remarkable musical atmosphere generated by celebrated musicians of the court of Louis XIV in VERSAILLES : LOUIS XIV's MUSICIANS.
     Begun in 1623 as a hunting lodge by Louis XIII, Versailles became the center of musical activity and political power in France when Louis XIV moved there in 1682. Woodwind instruments were evolving, largely due to the efforts of members of the Philidor family, to suit a more voluptuous conception of sound influenced by the vocal airs de cour of the reign of Louis XIII. This, in combination with the elaborate ornamental detail and delicate gestures of this music, yielded the deeply moving musical fabric which permeated Louis XIV's daily life.
     The program will include one of Louis XIV's favorites, the Grande Piece Royal by Michel-Richard Delalande, and music by other composers associated with the Sun King's court in Versailles: harpsichordists François Couperin and Élisabeth Jacquet de La Guerre, who was taken into service at the royal court in her teens, flutists Jacques Hotteterre and Pierre Danican Philidor and viola da gamba player Marin Marais. Jeffrey Cohan will play an exact replica, more than two half tones below modern pitch, of an ebony one-keyed flute with massive ivory rings by Hotteterre.

2 • TRIOS • Classical to Romantic

JS Bach  Friday, July 8, 2016 at 7:30 PM
       Risa Browder ~ violin
       John Moran ~ cello
       Jeffrey Cohan ~ 8-keyed flute (London, 1820)
     A broad sampling of bright virtuoso chamber music from the time of Ludwig van Beethoven (1770-1827) will be performed in CLASSICAL TO ROMANTIC TRIOS, with selections from Wolfgang Amadeus Mozart's Magic Flute arranged for flute, violin and cello when Beethoven was 25, music by the Viennese flutist Raphael Dressler (1784-1835) who worked with Beethoven, and the fabulous  blind German virtuoso flutist Friedrich Ludwig Dulon (1769-1826) who impressed Mozart and shared Beethoven's dates almost exactly, as well as trios by Ignaz Joseph Pleyel (pictured, 1757- 1831) and the famous French flutist and bassoonist François Devienne (1759-1803). Pleyel and Devienne in particular are performed today on modern instruments, but this music comes to life in a completely new way on period instruments.

3 • A Little Consort of BACH for REILLY

J. Reilly LewisJS Bach  Sunday, July 10, 2016 at 7:30 PM
Risa Browder ~ baroque violin
       John Moran ~ baroque cello
       Billy Simms ~ theorbo
       Jeffrey Cohan ~ baroque flute
     Our little consort, composed of but a few of the many musicians who have been priveleged to work with J. Reilly Lewis and have been deeply touched by his musical spirit, offers this intimate program of the music of Johann Sebastian Bach to honor our friend's great gifts to us.
     Johann Sebastian Bach composed a Trio Sonata for two flutes and continuo, BWV 1039, and later transferred the first flute part to the right hand of the harpsichord while giving the second flute part to a solo viola da gamba, resulting in his Sonata for viola da gamba and obbligato, or fully written out, harpsichord in G Major, BWV 1027, performed here with flute assuming the viola da gamba, or second flute, role, and the violin on playing the part assigned to the right hand of the harpsichord, or first flute.
     The original scoring of several works to be performedis not certain, but our instrumentation is well withing the bounds of what Bach might originally have had in mind. The sublime sentiments contained in Bach's largest well-known works for chorus, soloists and orchestra with which Reilly was so familiar are crystallized in this chamber music by Bach for but a few instruments.

Now in its 16th 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.

All programs take place at 7:30 p.m., at St. Mark's Episcopal Church at 3rd & A Streets, SE in Washington, DC, just behind the Library of Congress on Capitol Hill.

The suggested donation (a free will offering) is $25 or $20. Students 18 years of age and under are free. Advance tickets are available at and at the door. For further information please call St. Mark's at (202) 543-0053 or email

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

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.

Conductor and harpsichordist JOSEPH GASCHO enjoys a multifaceted musical career as a solo and collaborative keyboardist, conductor, teacher and recording producer, and recently joined the faculty at the University of Michigan School of Music, Theatre & Dance. As a student of Webb Wiggins and Arthur Haas, he earned masters and doctoral degrees in harpsichord from the Peabody Conservatory and the University of Maryland, where he also studied orchestral conducting with James Ross. In 2002, he won first prize in the Jurow International Harpsichord Competition. At the Oberlin Conservatory’s Baroque Performance Institute, he conducts the student orchestra, coaches chamber music, and teaches basso continuo. He has performed and coached chamber music and coordinated accompanying at the Amherst Early Music Festival, and has taught at the International Baroque Institute at Longy at George Washington University. Recent performing highlights include performing with the National Symphony at Carnegie Hall, the Mark Morris Dance Group and the Kennedy Center Opera Orchestra, and conducting Idomeneo for the Maryland Opera Studio. He has conducted numerous operas from Monteverdi to Mozart for Opera Vivente. A strong proponent of technology in the arts, he has used computer-assisted techniques in opera productions, in recent recordings, and in his basso continuo classes. His recent debut solo recording was praised by American Record Guide for “bristling with sparkling articulation, subtle but highly effective rubato and other kinds of musical timing, and an enviable understanding of the various national styles of 17th and 18th Century harpsichord music.”

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