The CJC, formerly the JAZZSCHOOL, and The San Francisco Early Music Society have established an exciting affiliation that delights both our audience and our local musicians. Early music lovers and jazz music lovers join together to celebrate the improvisational kinship of the two genres. CJC offers a casual and intimate environment where the audience can enjoy a light meal and sip a glass of wine or a cup of coffee while enjoying the concert.
All concerts begin at 4:30pm at the California Jazz Conservatory, 2087 Addison Street, Berkeley. Tickets are $20 (general admission) and go on sale for each concert approximately one month in advance. Their box office can be reached at 510-845-5373 or www.cjc.edu/concerts.
The 2015–2016 Season Opens September 13th
Albany Consort—Familiar Repertoire—Unusual Arrangements
If there is one area where modern musicians have disregarded 18th-century practice, it is in reverence for the static score. Back in the day, music was constantly revised for new performances. But today, we invariably stay glued to those versions that history has preserved for us.
“I question that,” says the Albany Consort’s Jonathan Salzedo. “The idea of this program is to revitalize a very well-known work. This is nothing the do with the quality of the music, which is already the highest, hence its huge popularity, now as well as in its day. But at the time of writing, it was plagiarized, and I want to indulge in some plagiarization of my own.
The work is Vivaldi’s Four Seasons. Vivaldi himself was a master of reuse, and my version of Winter reworks the concerto for the same chamber ensemble that Vivaldi frequently employed (recorder, oboe, violin, bassoon and continuo). Other composers reworked or extended this and other music by Vivaldi, and based on what I know, my re-workings of Spring, Summer and Autumn speculate what Bach, Rameau and Handel might have done with Vivaldi’s material.
We complete the program with a much loved Bach work most often performed as a concerto for violin, two recorders and strings (Brandenburg Concerto No 4). It is not so well known that Bach himself re-worked this piece, replacing the virtuoso violin part with a virtuoso harpsichord part. The harpsichord version is the version we will present.”
ALBANY CONSORT: Jonathan Salzedo, harpsichord; Marion Rubinstein, recorder; Laura Rubinstein-Salzedo, David Wilson, and Rachel Hurwitz, violins; Katherine Hagen, viola; Adaiha MacAdam-Somer, cello; Roy Whelden, violone; Brandon Labadie and Glenda Bates, oboes; Georgeanne Banker, bassoon
Musica Pacifica—Prelude to a Recording
The world-renowned Bay Area baroque ensemble Musica Pacifica goes into the studio the day after this program to record a Paris Quartet by Telemann and a sonata by Giuseppe Sammartini. The group will perform these pieces, along with a concerto by Antonio Vivaldi. They also will discuss how the group approaches their work in the recording studio, emphasizing the differences in rehearsing for a live concert and a recording.
MUSICA PACIFICA: Judith Linsenberg, recorder; Elizabeth Blumentstock, violin; Josh Lee, viola da gamba; John Lenti, theorbo; and Charles Sherman, harpsichord
Katherine Heater, harpsichord—There and Bach
Katherine Heater, harpsichord, performs a solo recital of works by Johann Sebastian Bach, exploring the fantasy and the fugue, two of the compositional forms most closely linked to the great keyboard master’s renowned gifts of improvisation.
Hallifax & Jeffrey with Lynn Tetenbaum, violas da gamba
Flauti Diversi—My Funny Valentine
A crossover potpourri of Arabic, klezmer, jazz and basso ostinato arrangements and improvisations to put you in a romantic mood.
FLAUTI DIVERSI: Karen Clark, contralto; Frances Feldon, recorders/transverse flutes; Peter Maund, percussion; Sarah Michael, qanun; Susanna Porte, violoncello
Euphora Project—Ávila: Musicians & Mystics of Sixteenth Century Spain
Through both new and ancient music, this program explores themes of contemplation grounded in repetitive musical forms, and mysticism and poetic vision illuminated through the art of improvisation. Using the writings of Teresa of Ávila (The Way of Perfection and The Interior Castle) and John of the Cross (Spiritual Canticle and Dark Night of the Soul) as genesis, this music seeks to divine a glimpse of poetry and mysticism through fleeting and free spirited improvisation, contemplative solos and dramatic songs, with quiet instrumental meditations and select recitations interspersed. The program features selections from the vihuela literature of the Golden Age of Spain, medieval music associated with contemplative pilgrimage and Marian devotion, and new music setting the mystical works of Teresa of Ávila and John of the Cross in meditative solos and reflective songs.
EUPHORA PROJECT: Amy Michele White, voice; Dominic Schaner, lute/guitar/vihuela
Laudami Ensemble—Songs and Variations
Join the members of the Laudami ensemble as they showcase baroque improvisations inspired by the human voice. Examples include cantatas, divisions on popular songs, and highly ornamented melodies.
LAUDAMI ENSEMBLE: Laura Rubinstein-Salzedo, violin; Adaiha MacAdam-Somer, cello; Ben Kazez, baritone; Michael Peterson, harpsichord