Saturday February 5th 7:30pm

Santa Cruz County Veterans’ Memorial Hall

Elizabeth Hungerford, soprano

Andrew Arceci, lyra viol

Our inaugural concert for 2022 marks the triumphal return of Elizabeth Hungerford, the pure soprano voice from London who inspired standing ovations at her previous Baroque Festival performances. Her phenomenal accompanist, Andrew Arceci, will play the rare lyra viol, a chordal viola da gamba. An on-site meet-the artists reception follows for donors and season ticket holders.

Sunday February 27th 5:00pm

Peace United Church

Lars Johannesson & Alissa Roedig, Baroque flutes

Linda Burman-Hall, harpsichord

Erik Andersen, viol

Nina Treadwell, theorbo

Paul Contos, Jazz Flute and Sax

Dale Mills, clarinet

Ned Boynton, guitar

Joe Dolister, bass

In the early 18th Century, when Jacques-Martin Hotteterre – the foremost member of a great French dynasty of woodwind instrument makers, performers, and composers – revealed his secrets on how to play and improvise fluently on France’s most popular instrument, the wooden flute, he was effectively handing over the keys to social success through musical savoir-faire. Two to three centuries later, Jazz improvisation requires a highly sophisticated navigation of African-American rhythms and European-descended harmonies, and the most imaginative masters are worshipped for their skills. Our concert explores how Baroque and Jazz artists work their own improvisational languages from the same foundations.

Sunday March 20th 5:00pm

Peace United Church

Vlada Moran, solo Pipe Organ

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 10th 3:00pm

UCSC Music Recital Hall

Lillian Gordis, solo Harpsichords

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 24th 3:00pm

UCSC Music Recital Hall

Alissa Roedig, Baroque flute

Edwin Huizinga & Grijda Spiri, Baroque violins

Erik Andersen, viol & Baroque ‘cello

Linda Burman-Hall, Harpsichord, Director

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 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 donors and season ticket holders.