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
21 September 2009
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!
21 April 2009
Concert: 20 March 2009
Bach to the Futue: The Baroque Avant-Garde
Exploring the world was not new to those living in the Age of Enlightenment. The world of music was no different. For baroque music, beginning with the Seconda Pratica of Claudio Monteverdi, the Camerata of Vicenzo Galilei, and the stile moderno of Giulio Caccini, musicians have always been interested in creating new things that break from the “party line” and give their music a unique character. After all of the music composed by Johann Sebastian Bach, George Friderick Handel, and Georg Philipp Telemann, what else could the younger generation, composers such as Johann Philipp Kirnberger and CPE Bach, do but push the envelope of tradition? And after John Dowland, what else could Johannes Hieronymous Kapsberger do as a lute composer?
Join The Baroque Northwest Trio (Kim Pineda, Ronnee Fullerton, and Gus Denhard) as we explore the outer limits of baroque music, with special guest Bernard Gordillo, harpsichord. Music by Johann Philipp Kirnberger, CPE Bach, Johann Hieronymus Kapsberger, and Johann Sebastian Bach.
Program
Jean-Marie Leclair (1697-1764)
Sonata in D, Op. 2, No. VIII
Carl Philipp Emanuel Bach (1714-1788)
Solo a Viola da Gamba e Basso, H. 557 (C major)
CPE Bach
Sonata in g, H 542.5
(Formerly attributed to JS Bach, BWV 1020)
INTERMISSION
Johannes Hieronymus Kapsberger (c. 1580 – 1651)
Toccata and Gagliarda (1611)
Johann Philipp Kirnberger (1721-1783)
Sonata in G, from the Giedde Collection, Copenhagen
Johann Sebastian Bach (1685-1750)
Trio Sonata in G, BWV 1039/1027
The players:
Kim Pineda, Transverse flute
Ronnee Fullerton, Viola da gamba
August Denhard, Theorbo and Lute
Bernard Gordillo, Harpsichord
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