An Elizabethan Broken Consort ~ Capitol Hill Chamber Music Festival
The Capitol Hill Chamber Music Festival presents An Elizabethan Broken Consort!
* * * Sunday, JuLY 10 at 7:30 PM: An Elizabethan Broken Consort
Tina Chancey ~ viola da gamba and renaissance violin
Jeffrey Cohan ~ renaissance flutes
Joseph Gascho ~ harpsichord
AN ELIZABETHAN BROKEN CONSORT celebrates the music of Elizabethan England within the broader context of the Renaissance and the beginnings of the Baroque style.
The program will include works which predate Elizabeth's coronation in 1558 (THE PAST: Josquin de Prés, Alexander Agricola, and her father Henry VIII), composers who came after her death in 1603 and contributed to the development of the baroque style (THE FUTURE: Bartolomeo De Selma e Salaverde, Andrea Cima, Girolamo Frescobaldi), and composers active during Elizabeth's reign in FRANCE (Pierre Clereau, Antonio Gardane, Didier le Blanc), ITALY (Andrea di Cannaregio Gabrielli, Girolamo Dalla Casa), and finally, ENGLAND (Anthony Holborne, Hugh Ashton, Peter Philips, John Baldwyn). A renaissance "consort" of different sizes of like renaissance instruments was considered "broken" when instruments from different families, such as plucked instruments, strings and winds, were brought together. Also a "broken" melody was understood to be an ornamented one.
Compositional ornamentation in this program echoes two 16th-century improvisatory practices: the addition of one or more lines which intertwine about a familiar melody (as added by Josquin to Fortunata Desperata, by Henry VII and Erasmus Lapicida to T'andernaken and by John Baldwyn more than a century later to Coockow as I me walked), and the often ecstatic virtuoso bursts of melisma generated by the expressive virtuosity of individual late-16thcentury instrumentalists as applied to familiar art songs of their time, as in Girolamo Dalla Casa's diminutions on Thomas Crecquillon's Petite fleur coincte et jolye.
Although Attaignant suggests in the 1530's that certain of his newly-published chansons are also playable on transverse flutes or recorders, instrumentation was seldom specified during this period and the instrumental rendition of vocal works made up a large part of instrumental practice, as is to be heard in our interpretation of five 2- and 3-part French chansons.
The art of counterpoint or the interaction of independent melodies, which predated J.S. Bach's mastery of the contrapuntal art, will be heard to evolve through the 16th century and beyond in exquisite works by Alexander Agricola (1538), Andrea Gabrielli (1589), Peter Philips (1615) and Andrea Cima (1617).
In short, the program will survey chamber music from 1500 through 1650. The renaissance transverse flutes in particular are hardly ever to be heard in this context today, although they were pictured frequently and were as common as recorders during their day. The acoustics and setting are marvelous at St. Mark's and we hope you'll come join us!
| St. Mark's Episcopal Church ~ 202.543.0053
| 3rd & A Streets, SE in Washington, DC
| ...behind the Library of Congress on Capitol Hill.
| Suggested donation (a free-will offering towards expenses): $20
| Youth 18 and under free
| For advance TICKETS (also available at the door) and INFO please see:
| www.chcmf.org or (800) 281-8026 for more info
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St. Mark's Episcopal Church
3rd and A Streets, SE
Washington, DC 20003
|Kid Friendly: Yes!|
|Dog Friendly: No|
|Wheelchair Accessible: Yes!|