2016 Salish Sea Early Music Festival
Period Instrument chamber music from six centuries around the Salish
• June 4 - 13, 2016 •
1820: VIRTUOSO GUITAR & FLUTE
Oleg Timofeyev ~ early 19th-century Russian guitar
Jeffrey Cohan ~ 8-keyed flute (London, 1820)
In Romantic Guitar & Flute, with guitarist Oleg Timofeyev and flutist Jeffrey Cohan performing on authentic early 19th-century instruments, our final 2016 Salish Sea Early Music Festival performance
explores an emerging new early 19th century romanticism and the
subsequent blossoming of guitar-flute repertoire by virtuosos on their
evolving instruments. This golden age for the flute-guitar duo was
brought into being in the early 1800's as the industrial revolution and
a desire for such music by a new middle class gave rise to expressive
trends less affected by stylistic constraints of the past, and
significant changes in the tonal expectations of musical instruments
... and a new type of virtuoso interaction between flutists and
with Oleg Timofeyev's guitar from the early 19th century, Jeffrey Cohan
will play an 8-keyed flute made in London in 1820 of cocuswood or
Jamaican ebony with silver ornamental rings and keys, made in London in
1820 by George Rudall with the help of George Willis. In 1821 Rudall
joined with Rose to make Rudall & Rose flutes, which have found
their way into the hands of some of today's most well-known flutists
playing traditional Irish music. The program will include a Nocturne
by guitarist Francesco Molino (1775-1847), a Divertissement by flutist
Gaspard Kummer (1795-1870), Serenades by violinist Joseph Kuffner
(1776-1856) and guitarist Mauro Giuliani (1781-1829) and virtuoso solos
for flute and guitar. (Pictured above is guitar prodigy Giulio Regondi in about 1832.)
Please see links to left above for specific dates for each location.
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• January 2 - 17, 2016 •
TRIOS for GUITAR, FLUTE & VIOLA
Jeffrey Cohan ~ flute
Oleg Timofeyev ~ guitar
Stephen Creswell ~ viola
(early 18th-century instruments)
In Beethoven's day guitar, flute and viola was a popular ensemble for
which much early 19th-century chamber music was written. The program
will include the "Noturno pour Flûte, Viole et Guitarre, Opus 21" by Wenzeslaus Matiegka
(1773-1830), which caught Franz Schubert's attention in 1814; he
subsequently arranged it for his family's use with the addition of a
cello part and an additional movement. Also the "Sérénade pour Flûte,
Alto et Guitarre, Opus 83" by Gaspard Kummer (1795-1870), and an anonymous “Barynya” (Russia, 19th century) for solo guitar will be performed among other works.
40 years earlier in Poland and Bohemia, the European guitar was given
another string and tuned to a G major tuning. Although rare today, this
became the only guitar that was used almost exclusively throughout
Russia until the European 6-string guitar regained popularity after
Andres Segovia performed in Russia in the early 20th century. There are
a few guitarists that still prefer the 7-string instrument in Russia
and the Romani people ("Gypsies") of Russia use it exclusively. The
European music to be heard on this program from around Beethoven's time
would have been played in Russia on this instrument, as Mr. Timofeyev
will be doing.
• February 27 - March 9, 2016 •
Bernward Lohr (Germany) ~ harpsichord
Anne Röhrig (Germany) ~ baroque violin
Jeffrey Cohan ~ baroque flute
Hanover, Germany's vibrant early music scene will be reflected in this
evening of lustrous baroque chamber music by Rameau, JS and CPE Bach,
Marais and Leclair with our two special guests from Germany.
Harpsichordist Bernward Lohr is director of Hanover's Musica Alta Ripa, one of Germany's most active period instrument ensembles, and baroque violinist Anne Röhrig is leader of the Hannoversche Hofkapelle, one of Germany's premier baroque orchestras.
Lohr and Anne Röhrig are both professors at music conservatories in
both Hanover and Nuremburg, Germany. Their more than 30 recordings
have garnered awards including the Diapason Dòr, the Cannes Classical
Award, the German Recording Critics' Prize, and several times the Echo
Klassik. Both were awarded the 2002 Music Award of Lower Saxony.
The program will include Jean-Philippe Rameau's Deuxième Concert from Pièces de Clavecin en Concert, selections from the Suite E Minor from Pièces en Trio by Marin Marais, Jean-Marie Leclair's Deuxième Récréation de Musique, Opus 8, the Sonata in G Major, BWV 1019 for obbligato harpsichord and violin by Johann Sebastian Bach, Carl Philipp Emanuel Bach's Trio Sonata in b minor, Wq. 143 and the G major trio sonata, BWV 1038 by Johann Sebastian Bach.
• March 28 - April 9, 2016 •
FORTEPIANO & FLUTE
Henry Lebedinsky ~ fortepiano
Jeffrey Cohan ~ late 18th and
early 19th-century keyed flutes
Virtuoso duos from the last half of the 18th century for keyboard and
flute as equal partners explore a new relationship between the
fortepiano, increasingly the keyboard of choice during this period, and
the flute, more and more with six or eight keys replacing the single
key of the baroque flute, in this program reflecting the changing
musical currents of Mozart's lifetime.
The one-keyed flute of the baroque
period acquired as many as six or eight keys during this span of 50
years which encompasses productive periods for the sons of Johann
Sebastian Bach, the complete life and works of Wolfgang Amadeus Mozart,
and the rise of a new breed of virtuosos such as Devienne, Beethoven
and Hummel. Jeffrey Cohan will play replicas of a one-keyed flute from
about 1755 as well as an eight-keyed flute from about 1807. Henry
Lebedinsky will play an original fortepiano made in 1799. The program
will include works mostly for flute with obbligato keyboard but also
for flute with figured bass by flutist François Devienne (pictured above), Mozart's publisher Anton Hoffmeister, Johann Nepomuk Hummel who lived with Mozart for two years as a child virtuoso, and J.S. Bach's sons Carl Philipp Emanuel Bach and Johann Christoph Friedrich Bach, all written between 1755 and about 1800.
• April 14 - 24, 2016 •
Hans-Jürgen Schnoor (Germany) ~ harpsichord
Ingrid Matthews ~ baroque violin
Jeffrey Cohan ~ baroque flute
A rare opportunity to hear Johann
Sebastian Bach's complete Musical Offering (with canons etc.) alongside
two additional trio sonatas for flute, violin and continuo BWV 1017 and
BWV 1039 and the Chromatic Fantasy and Fugue for solo harpsichord on period instruments will occur when German
harpsichordist Hans-Jürgen Schnoor, baroque violinist Ingrid
Matthews and baroque flutist Jeffrey Cohan join forces in a
program of Bach's chamber music.
J.S. Bach walked for two days to hear Dietrich Buxtehude at the
St. Mary's Church in Lübeck, where Mr. Schnoor currently is
organist and holds one of the most coveted and history-laden
positions as keyboardist in all of Europe. Ingrid Matthews founded
and directed the Seattle Baroque Orchestra, and Jeffrey Cohan
directs the Salish Sea Early Music Festival.
The Musical Offering was initiated in 1747 when Frederick the
Great, King Frederick II of Prussia, himself a superb flutist,
gave to Bach a complicated theme upon which Bach improvised to the
astonishment of all present. Within the next few weeks Bach
perfected and presented to Frederick a composition which exhibits
Bach’s boundless imagination and profound depth of expression in a
brilliant set of canons and fugues, and a trio sonata that is
without parallel in 18th-century chamber music, all based on this
royal theme. The 6-part fugue is the most significant keyboard
work ever written according to musicologist Charles Rosen.
• May 9 - 17, 2016 •
John Lenti ~ theorbo & baroque guitar
Joanna Blendulf ~ viola da gamba
Jeffrey Cohan ~ baroque flute
Salish Sea Early Music Festival presents an immersion into the musical
atmosphere generated by celebrated musicians at the court of Louis
XIV. 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 provide a voice better suited to a fuller, richer conception of vocal and instrumental sound and the delicate gestures and
elaborate ornamental detail that yielded the deeply moving instrumental
textures to which Louis XIV was accustomed.
to be represented include the prolific composer and performer Élisabeth
Jacquet de La Guerre, who was taken into service at the royal court in
her teens, members of the wind instrument playing Philidor family, the
highly esteemed court flutist Jacques Hotteterre, Louis XIV's guitar
teacher Robert de Visée, and harpsichordist François Couperin, who was
employed at the royal court from 1693. 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.