Saturday, 8 February 2014, 7:30 PM

Hello everyone,

We are looking forward to the concert this weekend.

The concert is at our usual venue, at 7:30 PM, pre-concert event at 7:00 PM

Trinity Parish Church
609 8th Ave (at James)
Seattle, WA 98104

but this time we are performing in the church sanctuary. Everything else will be as usual, and there will be signage to direct you.

See you soon.

A Word About Our Postcard . . .

Hello Everyone,

For those of you on our mailing list we want to clarify any confusion that may have come up with our recent postcard mailing announcing our upcoming concert.

We inadvertently left the date off of the postcard. Sorry about that. But the concert will take place as scheduled on February 8, at 7:30 PM. Our website continues to have the concert dates and other relevant information.

Again, apologies for the confusion and we hope to see you on February 8, at 7:30 PM. Unless, of course, you want to catch the pre-concert event that starts at 7:00 PM.

Galant and Grounded: Paying for Time Travel with the Currency of Music

Saturday, 8 February 2014, 7:30 P.M. 
Trinity Parish Church, in the sanctuary

The program:

Johann Philipp Kirnberger (1721-1783)
Sonata 8 in G,
from the Giedde Collection, Copenhagen
Adagio
Allegro
Allegro

From the Board Lute Book, circa 1620
Prelude - Anonymous
Delacourt Pavin - Anonymous
Rogero - Anonymous
Lady Banning's Almand - John Sturt (fl. 1610-12)
The Spanish Measures - Richard Allyson (ca. 1570-after 1606)

Angelo Maria Fiorè (1660-1723)
from Trattenimenti da camera a due stromenti . . . op. 1
Sinfonia à Violoncello Solo, con il Basso Continuo
Adagio - Allegro - Affetuoso - Presto
Sinfonia à Violoncello e Cembalo (1701)
Grave - Canzona. Presto - Grave - [Allegro]

Intermission

Ottoman Turkish, 17th century, Anonymous
In Makam Rast
Taksim
Peşrev
Saz semaisi

Georg Philipp Telemann (1681-1767)
Fantasias IV, IX, and XII (TWV 40:5, 40:10, 40:13)
from XII Fantasias for flute without bass, 1732/33

Johann Sebastian Bach (1685-1750)
Sarabande
From Sixth Suite for solo cello, BWV 1012

Elinor Frey (b. 1979)
Variazioni sopra “La Follia” (2011) (6:00)

Elisabeth Claude Jacquet de La Guerre (1665-1729)
Sonata in D, 1707
Presto
Adagio
Presto
Presto


Kim Pineda, transverse flute
Elinor Frey, cello
August Denhard, theorbo, lute, plectrum lute

UPDATE: 2013-14 Season in Seattle!

UPDATE:

The Fall Fundraising Fiesta will be held at Trinity Parish Church, in the Parish Hall, starting at 5:30 PM. Please click HERE  to get your tickets/make your contribution before the event.

For 2013-14 we present three diverse programs.

Concert I: 5 October 2013
Fall Fundraising Fiesta! A fundraising concert and party at Trinity Parish Church in the Parish Hall, featuring food, wine, & four centuries of music. Visit our website and click on the "Tickets" tab for more information about this event.

Concert II: 8 February 2014
Galant and Grounded: Paying for Time Travel with the Currency of Music.
In this concert we travel between the Galant style of the 18th century and the rhapsodic, capricious styles of the 17th century. Music by Fontana, Fiorè, Gabrielli, Kapsberger, Kirnberger, Blavet, and CPE Bach.

Concert III: 3 May 2014
Good Day Sun King: Baroque Music from New Orleans and New France.
Baroque music in New Orleans? Founded in 1718 by the French, it was not long before the Lower Mississippi Valley was populated with French people and French culture. And up river in Montreal and Québec, Parisian music publishers provided the northernmost part of New France with music of all types from "back home." Vocal and instrumental music from New Orleans's Ursuline Manuscript of 1736, plus music by Monteclair, Couperin, Marais, and other composers from the reign of Louis XIV.

La Rhétorique de la musique: Behind the Scenes of the Grand Siècle

Program for 4 May 2013

Jean-Marie Leclair (1697-1764)
Sonata in G, Op. 9, No. 7
Dolce. Andante – Allegro ma non tropo – Aria. Affetuoso –
Giga. Allegro moderato

Robert de Visée (c. 1655-1732/1733)
From the Vaudray de Saizenay Manuscript
Prelude – Allemande 'La Royalle' – Chaconne –
Rondeau 'La Mascarade'

Jacques-Martin Hotteterre (1674-1763)
Deuxième suite de pièces à deux dessus
Duo Les heureux moments: Trés tendrement-Gay et croches égales – Allemande La Maréchalle de Villars: Majestueusement et piqué – Gigue –Sarabande, La Saint Maurice: Lentement – Contrefaiseurs

Intermission

From Recueil de Pièces, arranged by Michel Blavet
“Pourquoi doux rossignol” – Rondeau: Musette de Blavet – Dans Les Indes Galantes – “La Furstemburg” –
“Les Niais de Sologne” de Mr Rameau

August Denhard (b. 1959)
Variations on “Le jeune fillete”

Michel Blavet (1700-1768)
Sonata in D, Op. 3, No. 6
Largo – Allegro – Andante affetuoso – Allegro

Kim Pineda, Transverse flute

Joanna Blendulf, Pardessus de viole and Viola da gamba

Hideki Yamaya, Theorbo and Baroque Guitar

August Denhard, Theorbo

April 13, 2013 The Return of Smoke & Blisters: Virtuosic Chamber Music with a Dash of Pyrotechnics

Program from April 13, 2013


Michel Blavet (1700-1765)
Sonata Terza, Op. 3
Vivace  Largo poco andante  Allegro

Giuseppe Vaccari (fl. 18th-c.)
Concerto in C Major
Allegro  Andante  Allegro

Johann-Joachim Quantz (1697-1773)
Sonata IV, Op. 1
Grave e sostenuto  Presto  Vivace

Intermission

Improvisation: Taksim in Makam Rast
Mutlu Torun (b.1942)
Misrap Kaydirma Etüdü

Johann Sebastian Bach (1685-1750)
Sonata in e, BWV 1034
Adagio ma non tanto  Allegro  Andante  Allegro

Jean-Marie Leclair (1697-1764)
Sonata VII, Op. 2
Adagio  Allegro  Sarabanda  Allegro assai

Kim Pineda, Transverse flute
Max Fuller, Viola da gamba
Hideki Yamaya, Mandolino and Mandora
August Denhard, Theorbo and plectrum lute

Breaking Baroque: Diminutions, Divisions, & the End of the Renaissance

Program for 12  January 2013

Jacques-Martin Hottererre (1674-1763), from Airs et brunettes (1721)

Nicolas va voir Jeanne (Anonymous)

Vous qui faites votre modelle (Jean-Baptiste Drouard de Bousset, 1662-1725)

L’autre jour ma Cloris (Anonymous)

Robert Johnson (1583-1634), Have you seen the white lily?

Anonymous, Music, thou soul of heaven

William Lawes (1602-1645), Why so pale and wan, fair lover?

Nicholas Lanier (1588-1666), Like hermit poor in pensive place obscure

Georg Muffat

Sonata in D (1677)

Giovanni Battista Fontana (?1589-?1630)

Sonata seconda (+1641) , from Sonate a 1. 2. 3. per il violino. . . altro istromento

Juan Cabanilles (1644-1712)

Corrente italiana

Giulio Caccini (1551-1618)

Torna, deh torna, from Nuove musiche e nuova maniera di scriverle (1614)

Claudio Monteverdi (1567-1643)

Si dolce è tormento, from Quarto scherzo delle ariose vaghezze (1624)

Giovanni Bassano (1558-1617)

            Ricercata terza, from Ricercate, passagi et cadentie (1585)

Ung gay bergier, after Crequillon (1505-1557), from Madrigali … con passaggi (1602)

Denhard and Pineda

Improvisations on the Romanesca and Conde claros

Johann Heinrich Schmelzer (c. 1620-23-1680)

Sonata quarta, from Sonatae unarum fidium (1664)

Kim Pineda, Baroque flute and recorders
August Denhard, Lutes and theorbo

Battle of the Bands: Le Roi Soleil and Sanssouci take on the Dresden Hofkapelle

4 May 2012

Program:

Johann David Heinichen (1683-1729)

Sonata in D

Wilhelm Friedemann Bach (1710-1784)

Sonata in C, BR A 2a / Fk 1B

Johann-Joachim Quantz  (1697-1773)

Sonata in e, Op. 1, No. V

Intermission

Carl Philipp Emanuel Bach (1714-1788)

Sonata in a, H. 555

Marin Marais (1656-1728)

Suite in a, from Pièces de violes, IIIe Livre (1711)

Michel Blavet (1700-1768)

Sonata Prima, Op. 3

Un Mélange Baroque: A Musical Tour of Francophonia

24 March 2012

Program:

Jacques-Martin Hotteterre (1674-1763)
Trio Sonata in A, Op 3, No V

• Prelude. Lentement
• Courante
• Sarabande
• Legerement

François Couperin (1668-1733)
Quatriéme Concert, from Concerts Royaux, 1722

• Prélude. Gravement
• Allemande. Legerement
• Courante Françoise. Galament
• Courante a L’italiane. Gayment. Pointé-Coulé
• Sarabande. Tres tendrement
• Rigaudon. Legerement, et marque
• Forlane Rondeau. Gayement

François Campion (c. 1685-1748)

• Prelude, Allemande "La furieuse," Air

Matthias Maute (b. 1962)

• Rouge (2004)

[Commissioned by Baroque Northwest]

Intermission

Improvisation on La Bergamasca

Marin Marais (1656-1728)
Suite in D, from Pièces de violes, IIIe Livre (1711)

• Prelude. Lentement
• Fantasie
• Rondeau
• Plainte. Lentement
• Chaconne

Michel Blavet (1700-1768)
Sonata Quarta, Op. 3

• Adagio
• Allegro ma non presto
• Allegro

François Couperin
Le Parnasse, ou L'Apotheose de Corelli, 1724

• Corelli au pied de Parnasse prie les Muses de le Recevoir parmi ells. Gravement
• Corelli charmé de la bonne reception qu’on lui fait au Parnasse, en marque Sa joye. Il continue avec ceux qui L’accompagnent. Gaÿment
• Corelli buvant à la Source D’hypocrêne Sa Troupe Continue. Notes égales; et Coulées, et modérément
• Entouziasme de Corelli Causé par les eaux D’hypocréne. Vivement
• Corelli après son Entouziasme S’endort; et sa Troupe jouë le Sommeil suivant. Notes égales; et Coulées. Tres doux
• Les Muses reveillent Corelli, et le placent auprés D’Apollon
• Remerciment de Corelli. Gayment

Kim Pineda, Baroque Flute
Joanna Blendulf, Pardessus de viole and Viola da gamba
Max Fuller, Viola da gamba
August Denhard, Theorbo and Baroque guitar
Hideki Yamaya, Baroque guitar and lute

Journey to the Center of the Baroque

21 January 2012

The Program

Adam Jarzębski (c.1590-c.1648)

Concerto Terza, from Canzoni e concerti (1627)

Mikołaj Zieleński (birth and death dates unknown)

Fantasia II, from Offertoria/Communes totius anni (1611)

Adam Jarzębski

Diligam te Domine, from Canzoni e concerti (1627)

Dances from the Codex Caioni (17th century)

Anonymous Chanson:

“Bon iour de almor” [236-238]

Regional Dances:

• Mikes Kelemen. Tancz [261]
• Mas Tancz Apor Istvan [262]
• Apor Lazar Tancza [266]
• Tancz [267]
• Tancz: Az en agyam czak [253]
• Nyiri Tancz [257]
• Tikha vgordonaczka/Hammerschmidt ritornello [144]

Johann Heinrich Schmelzer (c. 1620-1680)

Sonata Quarta, from Sonatae unarum fidium (1664)

Intermission

Johannes Schenk (1660–1712)

Sonata VI, Op. 9, from L'Echo du Danube (1706)

Improvisations and Variations on the Bergamasca

Georg Muffat (1653-1704)

Sonata in D, 1677

Feast of Hamburgers: Music from Eighteenth-Century Hamburg

Our 2011-12 Season begins on September 17, 2011.

German Baroque is more than J S Bach in Leipzig, the formidable Hofkapelle in Dresden, or the musical establishments of Frederick the Great in Berlin and Potsdam. Since the seventeenth century the city of Hamburg has held an important place in music and international trade, and in the eighteenth century it became a major music center. This was no doubt the result of composers such as Telemann, Mattheson, and later CPE Bach living there. Even George Frideric Handel worked in Hamburg early in his career, where he gained valuable experience that he would later use as an opera composer. Kim Pineda, August Denhard, Max Fuller, and Bernard Gordillo explore the repast of chamber music by these Hamburger composers. And we are happy to again have the music of Tim Risher on our program. His composition "River" was written for Kim Pineda and was premiered in August 2011 at the National Flute Association's Annual Convention in Charlotte, NC.

Our Program

Georg Philipp Telemann (1681-1767)
Trio Sonata in b, TWV 42:h4
From Essercizii Musici overo Dodeci Soli e Dodeci Trii a diversi stromenti (c. 1730s)
Largo
Vivace
Dolce
Vivace

Johann Sebastian Bach (1685-1750)
Aria [and improvisation], BWV 988

George Frideric Handel (1685-1759)
Sonata for Viola da Gamba and Basso Continuo in g, HWV 364b
Andante Larghetto
Allegro
Adagio
Allegro

Johann Adolf Scheibe (1708-1776)
Sonata I in D for flute and obliggato harpsichord
Adagio
Allegro
Andante
Poco Presto

INTERMISSION

Tim Risher (b. 1957)
River (2009)
Flute and Harpsichord

Johann Mattheson (1681-1764)
Sonata III in A, from Brauchbare Virtuoso, 1720
Adagio
Allegro
Grave
Giga

Carl Philipp Emanuel Bach (1714-1788)
Sonata in G, H. 554
Adagio
Allegro
Vivace

From Prussia with Love II Program

Frederick the Great (1712-1786)
Sonata in A

Carl Philipp Emanuel Bach (1714-1788)
Sonata in C, H. 558

Johann Sebastian Bach (1685-1750)
Concerto in D major, BWV 972
(arr. of Vivaldi's Violin Concerto in D major, RV 230), II. Larghetto

Johann Gottfried Müthel (1728-1788)
Sonata in D

Silvius Leopold Weiss (1687-1750)
Chaconne in A minor

Johann Joachim Quantz (1697-1773)
Sonata in D, Op. 1, No. 4

J S Bach
Sonata in G, BWV 1039/1027

2010-11 Season

All concerts on Saturday night at 7:30 PM

Concert I, September 25, 2010

The French Concoction: Parisian music with Italian Flavor

Kim Pineda, Bernard Gordillo, and August Denhard present a musical feast of music from 17th- and 18th-century France.

Concert II, February 19, 2011

From Prussia with Love II: Music from the courts of Berlin and Dresden

The Treaty of Dresden ended the war between Prussia, Saxony, and Austria. Kim Pineda, Bernard Gordillo, August Denhard, and Max Fuller share the benefits of this treaty with music from the two greatest musical establishments in 18th-century Germany.

Special Event

February 24, 25, 26, 2011:

Henry Purcell's Indian Queen

Kim Pineda is the music director for this collaborative program with Seattle Early Dance and the Early Music Guild of Seattle.

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!

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

Concert: 21 November 2008

Mediterraneo II: More Music from Byzantium to Iberia
Friday, 21 November 2008, 7:30 PM. Pre-concert event at 7:00 PM.

What kind of music were you likely to hear if you lived, worked, and traveled around the complex and multicultural world of Byzantium? What instruments would you be playing and hearing as you traveled? If you were a musician, you’d have to be well versed in a variety of musical styles and be able to play more than one instrument. Add to this the undulations of the Ottoman Empire that were a political force in Italy and every Eastern European country for hundreds of years. See how these attempted conquests play out in musical terms!

Special Guests Kane Mathis and Ruthie Dornfeld join the Baroque Northwest Trio (Ronnee Fullerton, Elizabeth Brown, Gus Denhard) to play Traditional, Renaissance, and Baroque music from Turkey, Iberia, North Africa, and other countries.

Our 2008-2009 Season!

For the 2008-2009 concert season, Baroque Northwest takes you on a tour of Europe in our new venue, Trinity Parish Church. Start in France, then to Spain and around the Mediterranean to Turkey, Germany by way of Italy, and with two stops in England. You’ll hear music by composers you have never experienced, and you’ll get better acquainted with some composers you have already met.

Concert I--Friday, 19 September 2008, 7:30 PM. Pre-concert event at 7:00 PM
Louis Louis: Music from the Courts of Louis XIV and Louis XV

Concert II--Friday, 21 November 2008, 7:30 PM. Pre-concert event at 7:00 PM.
Mediterraneo II: More Music from Byzantium to Iberia

Special Guests Kane Mathis and Ruthie Dornfeld join the Baroque Northwest Trio (Ronnee Fullerton, Elizabeth Brown, Gus Denhard) to play Traditional, Renaissance, and Baroque music from Turkey, Iberia, North Africa, and other countries.

Concert III--20 March 2009, 7:30 PM. Pre-concert event at 7:00 PM.
Bach to the Futue: The Baroque Avant-Garde

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.

Concert Descriptions --


Louis Louis: Music from the Courts of Louis XIV and Louis XV
The artistic and cultural foundation set in place during Louis XIV’s long reign survived well into the time of Louis XV. But, ultimately, ruling the enormous empire built by XIV got the better of XV, and, by the time of Michel Blavet’s death in 1768, all things cultural had taken a turn for the worse. The composers on our program worked for one Louis or the other, or both, and the royal patronage was the gig to have in the 17th and 18th centuries. Join the Baroque Northwest Quartet (Kim Pineda, transverse flute, Ronnee Fullerton, viola da gamba, Elizabeth Brown, baroque guitar and archlute, and August Denhard, theorbo and baroque guitar) as we perform works by composers employed by the Sun King (Louis XIV) and his successor, Louis XV. Music by Jacques-Martin Hotteterre, Marin Marais, Michel Blavet, Anne-Danican Philidor, Elisabeth-Claude Jacquet de la Guerre, and Charles- François Gregoire de la Ferté.

In addition to the Louis connections, Philidor (brother of the first international chess master Francois-Andre Philidor), created the Parisian concert series, Le concert spirituel. It was on this series that Blavet stepped into the limelight and became recognized as one of the premier musicians of his day, and not just a flute virtuoso. Blavet made his first appearance at the concert spirituel at the age of 26. He performed his own concerto, at the time a new form of composition in France, and afterwards, because of his exciting manner of playing, the flute became more popular in France. Marais and Hotteterre, each significant in the development of their respective instruments and repertoire (viola da gamba and flute), were well established by the time of Blavet’s debut. It is likely that Blavet used an instrument made by the Hotteterre family. A childhood prodigy, Elisabeth-Claude Jacquet de la Guerre performed for Louis XIV at the age of five and subsequently went on to establish herself as one of the few well-known woman composers of her time. We know less-than-little about François Gregoire de la Ferté, other than he was one of the first French composers to write chamber music with the title of sonata. Sonata XII is the only piece in the collection that treats the treble and bass parts as equal soloists.

Mediterraneo II: More Music from Byzantium to Iberia
What kind of music were you likely to hear if you lived, worked, and traveled around the complex and multicultural world of Byzantium? What instruments would you be playing and hearing as you traveled? If you were a musician, you’d have to be well versed in a variety of musical styles and be able to play more than one instrument. Add to this the undulations of the Ottoman Empire that were a political force in Italy and every Eastern European country for hundreds of years. See how these attempted conquests play out in musical terms!

Special Guests Kane Mathis and Ruthie Dornfeld join the Baroque Northwest Trio (Ronnee Fullerton, Elizabeth Brown, Gus Denhard) to play Traditional, Renaissance, and Baroque music from Turkey, Iberia, North Africa, and other countries.


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.


Our new venue, the Parish Hall at Trinity Parish Church in downtown Seattle, is a performance space similar to a typical salon de musique in 18th-century France. Large enough to comfortably seat our audience, but intimate enough to make the listener feel as if they are enjoying the music in someone’s home.