Saturday, February 5 ~ 7:30pm ~ Veterans’ Memorial Hall
Elizabeth Hungerford, soprano
Andrew Arceci, lyra viol
Pieter Breugel the Elder: The Wedding Dance, 1566. Detroit Institute of Arts Museum. Partial.
Join us for the triumphal return of the pure soprano voice from London that inspired standing ovations at her previous Baroque Festival performances, now with her phenomenal accompanist playing the rare lyra viol, chordal viola da gamba.
As one review of their ‘Love & Lust’ CD says: “They cut through all the lace and buttons associated with classical and find its sensuality for today’s audience … a one two punch of incredible, traditional vocals … and rich string work.”
An on-site meet-the-artists reception follows for fully vaccinated donors and season ticket holders.
Sunday, February 27 ~ 5:00pm ~ Peace United Church
Lars Johannesson & Alissa Roedig, Baroque flutes
Linda Burman-Hall, harpsichord
Erik Andersen, viol
Paul Contos, Jazz Sax and Flute
Jeff Buenz, guitar
Joe Dollinger, bass
Cover of Jacques-Martin Hotteterre’s Méthode de Musette (1738), engraving by Bernard Picart, Bibliothèque National, Paris transformed with spiral keyboard and background by L. Burman-Hall and P. Bryan (2021).
Jacques-Martin Hotteterre (1674-1763), the foremost member of the great French dynasty of renowned Baroque woodwind instrument makers, players and composers, told the world his secrets on how to play the wooden flute (France’s most popular instrument) as well as how to improvise successfully in his 1707 Opus 1 treatise.
Now three centuries later, with Hotter Jazz as the music of our own time, we apply Hotteterre’s improvisational ideas creatively in jazz style, working from similar foundations.
Sunday March 6 ~ 4:00pm ~ Holy Cross Parish Hall
Join us for an afternoon of Medieval entertainment and elegant conviviality at Holy Cross’s Parish Hall, with its breathtaking views of Santa Cruz and a spacious and well ventilated interior. Delightful snacks and wonderful wine provided by Hallcrest Vinyards will enhance the afternoon’s mood. Concordian Dawn, ensemble for medieval music, specializes in twelfth- through fourteenth-century vocal repertoire, drawing on primary source material and focusing on socio-philosophical similarities between texts from centuries ago and the mindset of modern society. In so doing, Concordian Dawn produces a musical experience accessible to contemporary audiences, relating the human condition of the past to the familiar experiences of the present.
~ Pre-sales: $50 ~At door: $60
Sunday March 20 ~ 4:00pm ~ Peace United Church
Vlada Moran, solo Pipe Organ
Charles Fisk Pipe Organ (opus 85), Stanford Memorial Chapel, in Bach temperament with added keys, 1984.
J. S. Bach learned by copying and arranging the works of all those composers he admired and wished to emulate. Especially he valued the Italian works that he could borrow (or steal) from the library of his elder brother. Come hear treasures by Marcello, Vivaldi and unknown masters that Bach delighted in playing on organ as models for his own work.
Sunday April 10 ~ 4:00pm ~ Holy Cross Church
Lillian Gordis, solo Harpsichords
Portrait of Domenico Scarlatti by Domingo Antonio Velasco, ca 1739 after he was awarded the Cross of the Order of Santiago from King João V of Portugal.
Based in Paris, the American virtuoso harpsichordist Lillian Gordis is quickly building an international reputation as an interpreter of the works of Domenico Scarlatti, the Italian composer-performer commanded to follow Princess Maria Barbara da Bragança at the time of her 1720 marriage into the Spanish court. The result 555 amazing sonatas for harpsichord solo, many of them based on folkloric Spanish material Scarlatti heard as various delegations visited his royal pupil.
Sunday April 24 ~ 4:00pm ~ Holy Cross Church
Alissa Roedig, Baroque flute
Edwin Huizinga & Grijda Spiri, Baroque violins
Erik Andersen, viol & Baroque ‘cello
Linda Burman-Hall, Harpsichord, Director
Portrait of J. S. Bach holding puzzle canon by Elias Gottlob Haussmann (ca 1745), The Bach Archive, Leipzig, Germany, transcribed and transformed.
Eventually all sound-streams lead to Bach, whose name in German literally does mean ‘stream’, the joining of cooperating currents flowing confidently and with force. Our all-transcriptions concert takes place in candlelight, while the metaphorical light we shine on familiar works is quite new. Expect to hear Bach with new ears. Perhaps the most famous Bach organ work, the D Minor Toccata and Fugue, known for more than 250 years as an organ work, is heard now as it might have been conceived, as a work for unaccompanied violin.
An on-site meet-the-artists reception follows for fully vaccinated donors and season ticket holders.
~ Post Season Events ~
Sunday, May 8, 2022 ~ 1:00-5:00pm
Join us as we visit the lush tropical-look garden of our Artistic Director on the banks of the San Lorenzo River. Enormous redwoods, exotic palms and dozens of colorful Japanese maples and other exotic Asian trees surround an enormous koi pond. Our ‘Music in the Garden’ is always held on Mother’s Day to welcome those who want to honor their mothers, those who are mothers, as well as those who simply seek exquisite musical and culinary diversions on a pleasant weekend in a lovely setting that is safe and convenient. We promise traditional gourmet food-treats: omnivore, vegetarian, and vegan finger-foods served safely; local wines, sparkling and still mineral waters, soft drinks, and especially we promise an intriguing variety of memorable music in a changeable garden like no other.
~ Pre-sales: $50 ~At door: $55
Italian anonymous 16th century. Painted panel Musée de l’Hôtel Lallemant, Bourges, France. Partial.
Sunday, May 22, 2022 ~ 7:00pm ~ Holy Cross Church
Our 9th annual presentation features the top laureates of our Youth Chamber Music Competition. The 2022 winners will perform a variety of Baroque and Classical music, and receive their cash awards onstage. We’re certain you’ll be amazed at the quality of our winners. Year after year, the winners of Santa Cruz Baroque Festival’s Youth Chamber Music far exceed the limited expectations some may hold. Simply put, young musicians can yet be astonishing performers. Guided in their interpretation by experienced coaches who are themselves wonderful musicians, they are capable of communicating musical ideas of the masters with great fluency, responsiveness, and grace. Combining the vigor and enthusiasm of youth and a spirit of healthy competition, the Showcase presents an afternoon of breathtaking performances. It is also a chance to support the festival and its efforts to uplift emerging artists.
Guaranteed to be memorable and inspiring! Admission FREE ($10 donation requested)
Anonymous 18th Century engraving of J. S. Bach’s student collegium
Saturday, July 9, 2022 ~ 1:00-5:00pm ~ Bonny Doon
Castle, catacombs, galleries, and a wonderful pipe organ inside the Chapel Royal! That’s BOOMERIA in the redwoods of Bonny Doon celebrating Bastille Day, where our French-themed organic snacks, local wines, and continuously uplifting music is sure to delight!
Special this year:
- Fencing demonstrations
- Bonny Doon Baroque plays mixed consort music for viols, recorders, and crumhorns
- Penny Hanna, virtuoso solo lyra viol
This amazing fund-raiser is $55 presale and $65 at door. Purchase tickets: scbaroque.org or at the concerts. Buy your tickets early to avoid disappointment.
Boomeria organ upper console and partial pipework with watchful geese.
Sunday, October 9, 2022 ~ 3:00pm ~ location TBA
Celebrating the 350th Birthday of Turlough O’Carolan, Ireland’s Most Famous Composer
Linda Burman-Hall, Director, harpsichord, virginal
Shelley Phillips, harp, Baroque oboes, folk flutes
William Coulter, guitar, bodhran
Barry Phillips, ‘cello
Deby Benton Grosjean, traditional fiddle, Baroque violin
Steve Coulter, harp
Turlough O’Carolan, blind harper, unknown artist, 19th Century.
A contemporary of J.S. Bach, Turlough O’Carolan (1670-1738) was Ireland’s most famous harper. Though blinded by smallpox at age 18, a patron gave him a harp, a horse and a guide, and he supported himself for 50 years as an itinerant harpist, becoming the most famous of all Celtic composers. O’Carolan composed in part by improvising, his works transcribed by others. The melodic lines that have come down often run through an ornate chordal harp texture. To play the tunes, musicians must decide suitable tempos, rhythms, harmonies, textures, and ornaments, and like O’Carolan, never repeat anything exactly. His music includes the most joyous tunes in the entire ‘6 Celtic Nations’ repertoire as well as airs of extraordinary melancholy. This project is supported by UCSC, in honor of Linda Burman-Hall’s award of an Edward A. Dickson Emerita Professorship (2019-2023). The performance will be eventually released as a CD recording. Thanks to UCSC Emeriti Associates, the Committee on Emeriti Relations, the Vice Chancellor, Chancellor, UCSC Endowments, and Music Department for support.
Saturday, November 19, 2022 ~ 7:30pm ~ location TBA
A joint presentation by Santa Cruz Baroque Festival, Distinguished Artists Concert Series, and UCSC Music Department.
Nicholas Mathew, 19th Century style fortepianos
The year 2020 marked the beginning of the 250th birthday celebrations of Ludwig van Beethoven (1770-1827), which are still continuing worldwide. We honor the span of his creative life with two different fortepianos representing the middle and late periods of his musical style. UC Berkeley Music Professor Nicholas Mathew will perform Beethoven pieces from these periods, with a thoughtful and historically informed performance practice.
The earlier piano is a replica of an 1800 model by the Schanz brothers. The instrument is part of UCSC’s collection, and is lightweight, with a range of 5 1/3 octaves. UC Berkeley contributes the second instrument, a reconstruction of Conrad Graf’s 1820 model — a somewhat heavier and larger piano, with a range of 6 1/2 octaves.
Beethoven’s style evolved significantly over the course of his life, in a way that influenced the course of musical culture. Equally influential was the piano itself, whose rapid transformations during the early 19th century not only reflected composers’ changing musical values but also made new musical thoughts possible. To trace the intertwined development of Beethoven’s music and that of the piano is our inspiration for this concert.
August von Klober. Study of Beethoven’s Face, 1818. Charcoal with chalk. Formerly Collection C. F. Peters, Leipzig, disappeared 1945.
Proceeds will benefit equally the three collaborating presenters. Thanks to the UCSC Division of the Arts for their generous support.
A pre-concert talk will be held 45 minutes prior to the concert.
$28 General ~ $24 Seniors ~ $11 Students