21 September 2009

Baroque à la mode program

Concert preview in the Seattle Times.

Joseph Bodin de Boismortier (1685-1765)
Sonata in a, Op. 37, No. 2

Marin Marais (1656-1728)
Le Labyrinthe, Book IV, 1717

Jean-Marie Leclair (1697-1764)
Sonata in G, Op. IX, no. 7

François Couperin (1668-1733)
“Les langueurs-tendres,” and “Les baricades mistérieuses”
From 6e ordre, Bb, Second livre de pieces de clavecin (Paris, 1716–17)

Jacques-Martin Hotteterre (1674-1763)
“L’autre jour ma Cloris,” from Airs et Brunettes
"Rocher, je ne veux point que", from the Ursuline MS, New Orleans, 1734

Henry Grenerin (c. 1625-c. 1700)
Chaconne, from Livre de guitarre (1680), with improvisation

Michel Blavet (1700-1768)
Sonata in D, Op. 3, No. 5

Kim Pineda, Transverse flute
Ronnee Fullerton, Viola da gamba
Elizabeth C. D. Brown, Baroque guitar
August Denhard, Theorbo
Special Guest: Bernard Gordillo, Harpsichord

Our 2009-2010 Season!

Concert One, September 19, 2009
Baroque à la mode
Couperin, Leclair, Marais, and Boismortier were all successful French composers who wrote beautiful chamber music for a variety of tastes. Their works are among the most cherished by today's performers and audiences alike. Harpsichordist Bernard Gordillo returns to Seattle to join the Baroque Northwest quartet.

Concert Two, December 19, 2009
The Spice of Life: Variations on Musical Themes
Vocal and instrumental music were closely tied together in the Medieval, Renaissance, and Baroque periods each genre inspiring the other. While instrumentalists were on a quest to imitate the human voice, vocalists were inspired to new heights by their brilliant instrumental colleagues. Exhausting the potential of a musical theme through variation is a crowning achievement by musicians of all periods. Join the Baroque Northwest Quartet for instru- mental variations of vocal music, dance music, and everything in between.Variety is the spice of life!

Concert Three, February 6, 2010
The Scottish Harp, with Maxine Eilander
Early harp virtuoso Maxine Eilander joins Elizabeth C.D. Brown, Gus Denhard, and Ronnee Fullerton for music of Scotland, with a nod to Wales, Ireland, and Britain. The harp passed freely between the worlds of traditional and art music during the Renaissance and Baroque as it does today, and the British Isles produced some of the world’s finest “harpers” and performance styles. Baroque Northwest puts it all together with Maxine, one of Seattle’s musical treasurers.

Concert Four, March 20, 2010
Back to Basics: Baroque Northwest does the Standards
Revisit the Baroque standards as envisioned by the creative minds and instrumental palette of the Baroque Northwest Quartet. Like a jazz combo playing the standards from the golden age of jazz, Baroque Northwest returns to its roots and pays homage to the most renowned composers of the high Baroque. Vivaldi, Bach, Handel, Telemann; it’s all good!