“Here’s a fact that might intrigue you: The year 2313 is as far in the future from us as the year 1713 is in the past! In many ways it is equally as difficult to imagine the state of music in both those far off worlds. Despite this, the oboe class will work on the challenging task of appreciating the unique qualities of music and technique that must have existed so long ago. We will try to discover in the old notational practices clues to the rhetorical/poetical nature of Baroque music. Also, the age-old goal of making good reeds will be revisited with a focus on the mechanical principles involved.”
Saturday, May 25
Chora Nova , Paul Flight, artistic director
Masterworks of the French Baroque
A rare chance to hear 18th century French music for choir and orchestra, including the Te Deum and the Motet pour les trépassés by Marc-Antoine Charpentier, a Magnificat and the motet Exultat Animus and Henry Du Mont.
Rita Lilly and Christina Schiffner Santschi, sopranos; Chris Evans and Mark Bonney, tenors; Sepp Hammer, bass
First Congregational Church of Berkeley
Dana at Durant, Berkeley
“The SFEMS Baroque workshop provides a supportive, non-competitive learning environment for professional and amateur musicians who are seriously interested in learning about Baroque style, and honing their technical skills. The caliber of the faculty has been and continues to be first-rate.
Highlights of the week are Concerto Night and the faculty concert. We offer a positive alternative to more competitive programs aimed at emerging young professionals, while offering our participants the highest possible quality of instruction.”
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Tuesday, May 14
Stanford University Music Department
“Totally Telemann,” a bouquet of solos, duos, trios, and quartets by the Hamburg master performed by Stanford faculty Herb Myers (flute & recorder), Anthony Martin (violin), John Dornenburg (viola da gamba), and Elaine Thornburgh (harpsichord)
Memorial Church Stanford University
Wednesday, May 15
San Francisco Chapter, ARS
Monthly playing session. New members and guests welcome.
ARS is pleased to welcome Joyce Johnson-Hamilton as the evening’s conductor. Recently retired from 31 years as music director of the Diablo Symphony Orchestra, Johnson-Hamilton is an accomplished early music specialist and recorder/cornetto/trumpet player who brings warmth with her expertise to the more intimate environment of ARS chapter meetings. Her imaginative arrangements offer freshness and new perspective to repertoire both familiar and unusual in recorder circles.
7:30 to 9:30PM
Christ Church Lutheran parish hall
1090 Quintara Street (one block west of 19th Avenue), San Francisco
Non-members are asked to contribute $5
If you are not a member but plan to attend, please contact Greta Haug-Hryciw (firstname.lastname@example.org) so there will be music for you, or if you’d like information about the location and the repertoire for the evening.
Friday–Sunday, May 17–19
Marin Headlands Workshop
East Bay Recorder Society presents its annual workshop for recorders (intermediate to advanced levels) featuring instructors and coaches David Barnett, Tish Berlin, Claudia Gantivar, Shira Kammen, Judy Linsenberg, Peter Maund, and Tim Rayborn.
Friday evening through Sunday afternoon.
Point Bonita YMCA in the Marin Headlands
Golden Gate Recreation Area, Marin Co.
Full and partial attendance possible.
Full information & registration at http://symbolicsolutions.com/ebrs/headlands.html.
Info: Brenda Bailey, 510-893-9128, email@example.com.
Saturday, May 18
“The Fawn-Colored Beast: Music and Satire from the Roman de Fauvel.” Cançonièr (Tim Rayborn, Shira Kammen, and Phoebe Jevtovic, plus special guests Michelle Levy and Tish Berlin) perform French songs and polyphony ca. 1200–1325.
St. Alban’s Church
1501 Washington Ave., Albany.
510-528-1685 or www.musicsources.org
San Francisco Bach Choir, Corey Jamason, Artistic Director
Songs of San Francisco—From Gold Rush to Golden Gate (1830s to 1940s). With Gina Morgano, soprano; Brian Thorsett, tenor; Corey Jamason, piano; and a choir of Bay Area youth.
Calvary Presbyterian Church
Fillmore & Jackson, San Francisco.
Advance 855-473-2224 or www.sfbach.org
“Sweeter than Roses: Songs and Instrumental Music by Purcell and his French Admirers” Corey Carleton, soprano; Colin Shipman, gamba; and Violet Grgich, harpsichord, perform works of Purcell, Clerambault, Bousset, and Marais. Accompanied by a taste of Grgich Hills wines.
Grgich Hills Estate
1829 St. Helena Hwy, Rutherford.
Info: www.grgich.com: firstname.lastname@example.org or 707-963-2784
Sunday, May 19
Chamber Music San Francisco
Archetti Baroque Ensemble (with guests Judith Linsenberg, recorder, and Louise Carslake recorder & flute) perform J.S. Bach Brandenburg Concerto No. 4 and No. 5; G. Sammartini Recorder Concerto In F; A. Vivaldi “Spring” from The Four Seasons and a Corelli Concerto Grosso.
Marines’ Memorial Theatre
609 Sutter Street (at Mason), San Francisco
San Francisco Bach Choir repeats program of May 18.
Calvary Presbyterian Church
Fillmore & Jackson, San Francisco.
Free, pre-concert lecture (Sunday performance only)
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Monday, May 6
American Bach Soloists, Jeffrey Thomas director.
George Frideric Handel’s secular cantata Apollo and Daphne and motet Silete venti; and J.S. Bach, arias for baritone. With soloists Mischa Bouvier, baritone; and Mary Wilson, soprano.
Davis Community Church
412 C St, Davis.
Tuesday, May 7
Sacramento Recorder Society
Regular meeting for recorder players, with guest conductor Judith Linsenberg. Newcomers welcome. Bring recorders, stand, and other early instruments. Music provided. Refreshments.
Friends Meeting House
890 57th St., between H and J, Sacramento.
South Bay Recorder Society
Monthly meeting, guest conductor Greta Hryciw. New members and guests welcomed.
First Congregational Church of San Jose
1980 Hamilton Ave. (at Leigh), San Jose.
408-358-0878 or email@example.com
Saturday, May 11
Foothill Presbyterian Church Music Series
“A Garland of Consorts.” Musici della Doria (Doris Williams, soprano & lute; Howard Kadis, lute & archlute; Jonathan Harris, recorders; Mary Prout and Julie Morriset, viols), perform Italian and English lute and consort songs, dances, fantasias and other instrumental music from the 16th and 17th centuries.
Foothill Presbyterian Church
5301 McKee Road, San Jose.
Suggested donation $10
Santa Cruz Baroque Festival
“Popular Baroque.” Lux Musica, with guests Rob Diggins and Bob Stern, jazz violins; and Mesut Özgen, guitar, perform a program of musical surprises, including remarkable popular music of the 17th and 18th centuries from across Europe and a hot trio playing Bach swing.
UC Santa Cruz Recital Hall
UCSC Campus, Santa Cruz.
$23/$17/$6/$3 ($3 parking charge)
831-457-9693 or www.scbaroque.org
Viola da Gamba Society/Pacifica Chapter
Monthly consort playing with guest coaches Julie Jeffrey and Peter Hallifax. Players of all levels welcome.
Hillside Swedenborgian Community Church
1422 Navellier Street, El Cerrito
Newcomers please phone ahead. 510-531-1471, firstname.lastname@example.org
Harpsichordist JungHae Kim’s playing has been described as inspired, fluid, emotionally exquisite, warm, and inviting. Her unique style blends a sparkling virtuoso technique with a gentle and lyrical sensibility. JungHae holds a Bachelors Degree in Harpsichord Performance from the Peabody Conservatory, and a Masters Degree in Historical performance in Harpsichord from the Oberlin Conservatory. She completed her studies with Gustav Leonhardt in Amsterdam on a Haskell Scholarship, and holds an Advanced Degree in Harpsichord Performance from Amsterdam’s Sweelinck Conservatorium. JungHae has performed in concert throughout United States, Europe and in Asia as a soloist and with numerous fine historical instrument ensembles including American Baroque, Brandywine Baroque, Musica Angelica, Music’s ReCreation, Agave Baroque, and Ensemble Mirable. She has also soloed with some of California’s premier modern ensembles including the San Francisco Symphony and the New Century Chamber Orchestra. During her summers, JungHae has performed on a number of music festival series including the Britt Festival (Oregon), the Assisi Music Festival (Italy), Music In The Vineyards (Napa, CA), the Bloomington Early Music Festival (Indiana), and at the Hawaii Performing Arts Festival. For additional information including information regarding upcoming concerts, please visit JungHae’s website: http://www.junghaekim.com. Recordings may be purchased online at iTunes, through Magnatune at http://www.magnatune.com, or by contacting Ms. Kim.
Adam Gilbert –Performer, Educator, Visionary
We are thrilled that Adam Gilbert has joined our Baroque workshop faculty. He is a performer and educator of extraordinary talent. His vision of what will be offered at this year’s workshop is inspiring.
“This is my first time at SFEMS baroque workshop, and I imagine we will have a great time exploring solo and ensemble repertory through performance, master class sessions, and yes, a bit of improvisation. My specialty is exploring relationships between the craft of improvisation and composition, and I believe that what we tend to think of as “elusive” creativity is really little more than a series of easy-to-learn craft and magic tricks.
Everybody is naturally musical, and there is a bag of technical magic tricks that foster creativity more than just telling someone how something should be played. The recorder can range sweet and simple to subtle and complex. As a teacher, I like to help players explore their place within that continuum and provide technical tools for expressing their own creativity.
Improvising and playing over ground bass chord progressions offers some of the most fertile ground for exploring the range of the instrument, from the simplest four-note melodies to the most extreme virtuosity, accommodating everyone from the timid to the brave. These progressions (chaconnes, passamezzos, morescas, canarios, and passacaglias) lie at the heart of the baroque compositions of the Hapsburg Court. By learning the grounds, melodic and rhythmic building blocks of diminution, and baroque rhetorical conventions, one will better appreciate the craft of improvising composers. Don’t worry, we will play composed music, but with one eye and ear open to how we can not only play the music of the Baroque masters, but even (within our comfort zone!) re-create their own compositional process.”