|2015 Capitol Hill Chamber Music
15th annual period instrument chamber music festival
Please check back for continuing programs in October.
1 • NEW BACH TRIOS •
July 28, 2014 at 7:30 PM
Jeffrey Cohan ~ baroque flute
Joseph Gascho ~ harpsichord
NEW BACH TRIOS explores new possibilities for flute and obbligato harpsichord by Johann Sebastian Bach to open the 2015 Capitol Hill Chamber Music Festival
These adaptations for flute and the two hands of a harpsichordist of works in trio sonata format by Johann Sebastian Bach, with the three intertwining voices originally having emanated from the hands and feet of one or two or three players, reflect Bach's own practice and result in four exquisite new sonatas for flute and keyboard that number among the most moving of Bach's instrumental works. One comes down to us as a work for solo organ, another for harpsichord and violin, one for either 2 flutes and harpsichord or viola da gamba and harpsichord, and one for flute, violin and harpsichord (the Musical Offering trio sonata).
Johann Sebastian Bach composed a Trio Sonata for Two Flutes and Continuo (BWV 1039), but 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. Similar treatment will be applied to the most famous of all baroque trio sonatas, the Musical Offering Trio Sonata (BWV 1079) for flute, violin and continuo which Bach prepared for Frederick the Great in 1747, and also to the Organ Trio Sonata in Eb Major (BWV 525), with the right hand being given to the flute, and the organ left hand and pedals to the harpsichord. In Bach's Sonata for Obbligato Harpsichord and Violin in G Major (BWV 1019), the flute and keyboard right hand will alternately share the violin and keyboard right hand parts.
The sublime sentiments contained in Bach's largest well-known works for chorus, soloists and orchestra are crystallized in this chamber music by Bach for very few instruments. As the original scoring of these works is largely unknown, and was almost certainly not always as has been handed down to us, our interpretations for flutist and the two hands of a harpsichordist might well be what Bach originally had in mind.
Now in its 15th 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.
The suggested donation (a free will offering) is $20 or $25. Students 18 years of age and under are free. Advance tickets are available at www.brownpapertickets.com and at the door. For further information please call St. Mark's at (202) 543-0053 or email firstname.lastname@example.org.
|Critical Acclaim for CHCMF
"A brilliant performance ... eloquently played ... close to the essence of chamber music." 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
For Frederick the Great, a Concert
of the Same Quality WASHINGTON
POST Monday, July 2012
|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.
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