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EARLY MUSIC AMERICA EMA WASHINGTON DC MUSIC AT ST. MARKS ST. JOHN'S COLLEGE CONCERT SPIRITUEL JEFFREY COHAN TINA CHANCY FLUTE SOCIETY OF WASHINGTON
2007: 6th annual period instrument festival
Mozart Quartets & Baroque Concerti
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The seventh 2007 Capitol Hill Chamber Music Festival will present two concerts on period instruments at St. Mark’s Episcopal Church on Capitol Hill, including the complete Mozart Flute Quartets for flute and strings on July 10, and Baroque Concerti from Germany, France and Italy on July 12, both at 8:00 PM.
Now in its 6th season, the Capitol Hill Chamber Music Festival, which has been awarded affiliate status by Early Music America, presents period instrument performances of chamber music from the Renaissance through the present by familiar as well as unknown composers in a variety of instrumental combinations, shedding new light upon many aspects of early performance practice. Unpublished works from the Library of Congress are given particular attention, with at least one concert being devoted largely to the performance of these, and several have received their modern day premieres during previous Festivals. The Capitol Hill Chamber Music Festival is a nonprofit corporation in the District of Columbia.
MOZART: The Complete Flute Quartets
The complete flute quartets by Wolfgang Amadeus Mozart will be performed by flutist Jeffrey Cohan, violinist Risa Browder, violist Stephen Creswell and cellist John Moran on classical period instruments.
Mozart composed four flute quartets between 1777 and about 1786. At least two of them were commissioned by De Jean, a wealthy East Indian Dutch amateur who may have inspired Mozart's familiar less-than-favorable remarks with regard to the flute, and to whom Mozart was introduced by his dear friend, virtuoso flutist Johann Baptist Wendling
BAROQUE CONCERTI from Germany, France and Italy
Concerti from Germany, France and Italy by Georg Philipp Telemann (1681-1767), Jean Jacques-Christophe Naudot (1690-1762) and Giovanni Battista Pergolesi (1710-1736) will be performed by baroque flutist Jeffrey Cohan, baroque violinists Risa Browder and Stephen Creswell, and baroque cellist John Moran.
The suggested donation (a free will offering) for all performances will be $20. Students 16 years of age and under are free. For further information and advance tickets the public may call (866) 323-1631, email chcmf@aol.com or see www.chcmf.org.
"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
"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
Artistic Director, Jeffrey Cohan
Capitol Hill Chamber Music Festival Artistic Director, Jeffrey Cohan, lives in Seattle, where he is the Artistic Director of the period instrument concert series, Concert Spirituel.
Jeffrey, who according to the New York Times can "play several superstar flutists one might name under the table", has received international acclaim both as a modern flutist and as one of the foremost specialists on transverse flutes from the renaissance through the early 19th century. He won the Erwin Bodky Award in Boston, and the highest prize awarded in the Flanders Festival International Concours Musica Antiqua for Ensembles in Brugge, Belgium with lutenist Stephen Stubbs. First Prize winner of the Olga Koussevitzky Young Artist Competition in New York and recipient of grants from the Martha Baird Rockefeller Fund for Music and the French Government, he has performed throughout Europe, the United States, Australia, New Zealand, and for the USIA Arts America Program in the South Pacific, South America, Turkey and Portugal
"The flute," according to Aristotle's Politics, "is not an instrument which has a good moral effect; it is too exciting." Exciting would certainly be an appropriate word to describe the playing of Jeffrey Cohan, soloist on Mozart's Concerto in G.
"The first movement cadenza displayed Cohan's extraordinary virtuosity and raised the question of whether he actually need to breathe. The tender second movement was a wonderful interlude of repose.
"Rarely have I seen such an animated soloist; Still, as far as this listener was concerned, Cohan could have swung upside-down, handcuffed from the rafters as long as he played with such finesse and energy." Deryk Barker, The Vancouver Sun
