|2016 Capitol Hill Chamber Music
~ In memory of J. Reilly Lewis, our 16th annual period instrument chamber music festival ~
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
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
3 • A Little Consort of BACH for REILLY •
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 Unpublished works from the Library of Congress are given particular attention, and many have received their modern day premieres during these concerts, in addition to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.
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 www.brownpapertickets.com and at the door. For further information please call St. Mark's at (202) 543-0053 or email email@example.com.
|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
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