FIRSTINFLIGHT - BACH AKADEMIE CHARLOTTE
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First in Flight
September 30, 2022 October 1, 2022 October 2, 2022
7:30 pm 7:30 pm 7:30 pm
The Cathedral of All Souls Myers Park Presbyterian Church Lancaster Cultural Arts Center
9 Swan Street 2501 Oxford Place 307 West Gay Street
Asheville, NC 28803 Charlotte, NC 28207
Lancaster, SC 29720
ABOU T U S
Bach Akademie Charlotte is a professional
Save the Dates
performing arts and educational 501(c)(3)
nonprofit organization. We look forward to seeing you at our upcoming
events this season!
O UR M ISS I ON
Dedicated to rigorous scholarship and
performance that inspires, Bach Akademie FEBRUARY 11, 2023
Charlotte advances the spirit of
community through the legacy of Johann
CAROLINA BACH COMPETITION
Sebastian Bach’s transformational music.
O UR V I S ION MARCH 2–5, 2023
Bach Akademie Charlotte envisions a world “VENETIAN VESPERS”
in which everyone has access to the
music of Johann Sebastian Bach.
JUNE 9–17, 2023
BOARD OF DIR E CTO RS
Elizabeth Hindal, President
CHARLOTTE BACH FESTIVAL
Reta Phifer, Secretary
Kelvin Chang
Joe Few
Ray Lyles Bach Akademie is grateful for the support
Emily Shusdock of our wonderful sponsors.
Gregory Thompson
Michael H. Trammell
ARTI ST IC DI RECTO R
Scott Allen Jarrett
CON TACT U S
Email
info@bacharlotte.com
MA IL
PO Box 12325 Member
Charlotte, NC 28220
PHON E
877-410-BACH (2224)
W EB
bacharlotte.com
Audio or video recording of any portion of this concert
is not permitted. Thank you for honoring our musicians
and preserving the value of live performance. Please
silence electronic devices for the duration of the
concert.
Bach Akademie Charlotte | Scott Allen Jarrett, Artistic Director
Bach Akademie Charlotte Orchestra
Aisslinn Nosky, leader and concertmaster
Arwen Myers, soprano
Josh Cohen, Baroque trumpet
Fiona Hughes, violin
Aisslinn Nosky, violin
Friday, September 20, 2022, 7:30 p.m. — The Cathedral of All Souls, Asheville, NC
Saturday, October 1, 2022, 7:30 p.m. — Myers Park Presbyterian Church, Charlotte, NC
Sunday, October 2, 2022, 3:00 p.m. — Lancaster Cultural Arts Center, Lancaster, SC
First in Flight
George Frideric HANDEL Concerto Grosso, op. 6, no. 9 HWV 327 [16‘]
(1685–1759) for 2 concertato violins and cello; strings in ripieno,
and continuo
Largo
Allegro
Larghetto
Allegro
Minuet
Gigue
Johann Sebastian BACH Jauchzet Gott in allen Landen, BWV 51 [20’]
(1685–1750) for solo soprano, natural trumpet, strings, and
continuo
I. Aria: Jauchzet Gott in allen Landen
II. Recit: Wir beten zu dem Tempel an
III. Aria: Höchster, mache deine Güte
IV. Chorale: Sei Lob und Preis mit Ehren
V. Finale: Allelujah!
Arwen Myers, soprano
Josh Cohen, natural trumpet
INTERMISSION
Arcangelo CORELLI Concerto Grosso, op. 6, no. 8 “Christmas concerto” [15‘]
(1653–1713) “Fatto per la notte di natale”
for 2 concertato violins and cello; strings in ripieno,
and continuo
Vivace/Grave
Allegro
Adagio/Allegro
Vivace
Allegro
Largo “Pastorale ad libitum”
First in Flight | 3BACH Concerto for 2 violins in D minor, BWV 1043 [16’]
for 2 solo violins, strings, and continuo
Vivace
Largo ma non tanto
Allegro
Aisslinn Nosky, violin
Fiona Hughes, violin
The duration of today’s performance, including a 15-minute intermission, is approximately 80
minutes.
Please silence electronic devices for the duration of the concert. Audio or video recording of any
portion of this concert is not permitted. Thank you for honoring our musicians and preserving the
value of live performance.
musicians
V IO LIN CE LLO
Aisslinn Nosky, Concertmaster Guy Fishman, Principal
Finoa Hughes Ryan Murphy
Jeanne Johnson
BASS
Natalie Rose Kress
Sue Yelanjian
Allison Monroe
TRUMP ET
Carmen Lavada Johnson-Pajaro
Josh Cohen
Allison Willet
David Wilson KEYBOARD
Scott Allen Jarrett
V IO LA
Maureen Murchie, Principal SO PRAN O
Renée Hemsing Arwen Myers
Marta Soderberg Howard
4 | Bach Akademie Cha rlottelibretto
Jauchzet Gott in allen Landen, BWV 51 (c. 1730)
A cantata for the Fifteenth Sunday after Trinity
Scored for solo soprano, trumpet, strings and continuo
Librettist: anon. (1–3); Johann Gramann (4)
1. Aria
Jauchzet Gott in allen Landen! Shout for joy to God in all lands!
Was der Himmel und die Welt Whatever creatures heaven and earth
An Geschöpfen in sich hält, contain
Müssen dessen Ruhm erhöhen, Must exalt His glory,
Und wir wollen unserm Gott And we too would now bring
Gleichfalls itzt ein Opfer bringen, An offering to our God,
Daß er uns in Kreuz und Not For in cross-bearing and distress
Allezeit hat beigestanden. He has at all times stood by us.
2. Recitative
Wir beten zu dem Tempel an, We worship toward the Temple
Da Gottes Ehre wohnet, Where God’s glory dwells,
Da dessen Treu Where His faithfulness,
So täglich neu, Daily renewed,
Mit lauter Segen lohnet. Rewards us with pure blessing.
Wir preisen, was er an uns hat getan. We praise what He has done for us.
Muß gleich der schwache Mund von Though our feeble voices babble
Seinen Wundern lallen, about His wonders,
So kann ein schlechtes Lob ihm A modest praise can nonetheless
Dennoch wohlgefallen. Still please Him.
3. Aria
Höchster, mache deine Güte O highest One, make Your goodness
Ferner alle Morgen neu. Henceforth new every morning.
So soll vor dir Vatertreu Then for Your fatherly faithfulness
Auch ein dankbares Gemüte A grateful spirit in return
Durch ein frommes Leben weisen, Shall show through its devout life
Daß wir deine Kinder heißen. That we are called Your children.
First in Flight | 54. Chorale Sei Lob und Preis mit Ehren Blessing and praise with honor be to Gott Vater, Sohn, Heiligem Geist! God the Father, Son, and Holy Spirit! Der woll in uns vermehren, Who would increase in us Was er uns aus Gnaden verheißt What he promises us out of grace, Daß wir ihm fest vertrauen, That we hold fast our confidence in Him, Gänzlich uns lass’n auf ihn, Fully rely on Him, Von Herzen auf ihn bauen, Build on Him from our hearts, Daß uns’r Herz, Mut und Sinn That our heart, courage, and mind Ihn festiglich anhangen; Cleave firmly to Him; Drauf singen wir zur Stund’ Of this we sing at this hour; Amen, wir werdn’s erlangen, Amen, we will obtain it Glaub’n wir zu aller Stund. If we have faith at all times. 5. Finale Alleluja! Alleluia! 6 | Bach Ak ademi e Cha rlotte
program notes
First in Flight
BRETT KOSTRZEWSKI
B
y the time George Frideric Handel (1685–1759) composed and published
his twelve concerti grossi, he had already begun to shift from opera to oratorio, the genre
that would ensure both his immediate success and his lasting fame. Yet in just a few weeks
in the fall of 1739, Handel produced the opus 6 concerti grossi both for publication and to
serve as music for the intervals at his concerts the following spring.
As was often the case, Handel worked fast. Concerto no. 9 was dated 26 October 1739—just one
week after he had composed what would become no. 10, and four days before he composed no. 11.
Handel’s swiftness was no doubt aided, however, by the fact that all but the opening Largo and closing
Gigue had been composed already. Movements 2–3 (Allegro-Larghetto) were rearranged from his
Organ Concerto in the same key (2nd set, no. 1, in F major), composed earlier in 1739; and movements
4–5 (Allegro-Menuet) were drawn from the overture to his opera Imeneo, composed in 1737 but not
performed until fall 1740. Two of the remaining eleven concertos in opus 6 were also drawn from
Handel’s own earlier compositions, at least in part.
Handel’s opus 6 seems to originally composed as such, it represents a fitting
have been inspired by the musical tribute to Corelli as well. Handel
opus 6 concerti grossi of eschewed the strict alternation of tonally-static
Arcangelo Corelli, published ritornello and tonally-dynamic episode codified
in 1714. Both sets contain
by Antonio Vivaldi, favoring instead the segmented
twelve concertos, and Handel
juxtaposition of small, recognizable melodic-
chose the same scoring as
contrapuntal cells. Handel masterfully reorga-
Corelli: a concerto group of
two violins and cello (with nized the organ-specific textures of the original to
harpsichord continuo), accompanied by a ripieno suit the string ensemble, recasting the alternation
group of two more violins, viola, and full continuo of soloist and ensemble between the concertists
complement. And while concerto no. 9 was not and ripienists.
First in Flight | 7HAVING SERVED AS THOMASKANTOR in An accompanied recitative follows, unusually
Leipzig since 1723, Johann Sebastian Bach (1685- leading straight into an unaccompanied arioso
1750) prepared the virtuosic soprano cantata describing the believer’s inadequate praise
Jauchzet Gott in allen Landen nevertheless pleasing to God; this prepares a
BWV 51 for the fifteenth beautiful continuo aria in a straightforward da
Sunday after Trinity in the capo form. The penultimate chorale movement
late 1730s (1739?), but its features an exceptional presentation: the soprano
many exceptional features sings the chorale unadorned in long note, while
suggest that it may have had the two violins present a contrapuntal duet
its origin in a festive secular around it (with continuo accompaniment). A joy-
occasion; that movements ful fugue on “Alleluia” concludes the cantata.
1–3 appear very cleanly in
Bach’s manuscript, with few signs of compo- ARCANGELO CORELLI (1653–1713), WHO
sitional adjustment, suggest that they were lifted lived and worked in Rome for most of his life,
from a now-lost other work. Bach originally indi- represents both in his composition and his career
cated that the cantata was written to be used “in the transition from vocal to
instrumental music as the
favored medium for compo-
Corelli’s concerti comprise surprising and sitional innovation and devel-
delightful harmonic progressions woven opment.Corelli worked mostly
as a violinist, and he leaves
out of varying textures. behind no vocal music what-
soever—a rarity for accom-
ogni tempo,” indicating that its generic text of plished composers of his time.
adoration and praise would be suitable for most As mentioned above, Corelli’s opus 6 concerti
Sundays. In addition, the unique scoring (single grossi likely served as inspiration for Handel’s
trumpet with strings and continuo), the form of own contribution to the genre. Corelli may have
the opening movement, and the exceptional vir- composed some or all of them as early as the
tuosity and range of the soprano and trumpet all 1680s, but he only arranged a publication
set it apart from Bach’s typical church cantatas, contract with an Amsterdam print-ing house in
even those written for solo voice. 1712; they were finally issued posthumously, in
The cantata opens with a long, lopsided da 1714. The eighth concerto is known as the
capo aria. With an A section comprising just one “Christmas concerto” primarily for the largo Pas-
of the aria’s eight poetic lines, the text risks torale in the final movement.
inspiring an asymmetrical musical setting in Despite their nominal inspiration for
which the tonally and melodically unstable B Handel’s later concerti grossi, Corelli’s works
section could threaten the overarching unity of foreshadow them little in their musical style. Not
the form. Bach solved this problem not only with only does Corelli avoid clearly articulated rit-
a long A section (replete with many repetitions of ornelli, as described above; for the most part, one
“Jauchzet!”), but with a memorable triadic head struggles to identify anything akin to a melody or
motive which he inserted throughout the B theme as we are used to hearing in later music.
section in different keys to unify the movement. This concerto also lacks any contrapuntal
8 | Bach Ak ademi e Cha rlottemovements such as fugue. Rather, Corelli’s con- each time followed by arpeggios and accom-
certi comprise surprising and delightful harmonic panied by lilting pulses in the ensemble.
progressions woven out of varying textures, Bach saved his formal wizardry for the final
arpeggios, sudden changes of tempo, and chains movement. Most concerto-allegro movements
of suspensions. The last movement of the eighth feature the alternation of ritornelli with full
concerto comes closest to the textures and forms ensemble that stay in the same key as they started,
standardized by Corelli’s great contemporary, and episodes featuring the soloists which move to
Antonio Vivaldi. a different key. Bach inevitably presents his own
twist on this standard form. The end of the
IN 1729, SIX YEARS INTO HIS TENURE AS opening ritornello and beginning of the first
Leipzig Thomaskantor, J.S. Bach was appointed episode is clearly marked by a strong cadence
director of the city’s collegium musicum. Founded followed by a sudden thinning out of the texture;
by the esteemed Georg Philipp Telemann in 1702, the episode concludes with a series of double-
the collegium musicum performed weekly con- stops in both violins leading up to a cadence on
certs in such venues as Zimmermann’s coffee the dominant. One would expect the ritornello
house and other public spaces in the city. Bach here, now in the dominant; instead, Bach simply
was busy with his duties as Thomaskantor, but his
relationship with the Town Council was severely
The conceit of Bach’s concerto’s
strained over petty disagreements. Bach had given
up weekly cantata composition in 1725, and he resembles an elaborate game of
no doubt saw the collegium as an opportunity to
exercise his creative powers free of the challenges
follow the leader.
he was facing with his employers. While we do
not know what the collegium performed and on starts a new statement of the same episode we
which occasion, several instrumental works, includ- just heard, only at the new key. Halfway through,
ing the Concerto for two violins BWV 1043, however, he plugs into the middle of the opening
survive in manuscripts from around this time. ritornello. The “third” episode that follows
Thus, this concerto was likely composed for coll- introduces new music, which Bach then reuses as
egium concerts in 1730–31. an extension within yet another fourth episode to
The concerto’s conceit resembles an elab- come later. Moreover, each of these repetitions
orate game of follow the leader. Each move-ment are in different keys. Bach therefore never states
involves the presentation of a theme in one of the the ritornello again in full until the end, instead
violins, followed by the other with the same extracting portions of it to satisfy the rounded
music. The opening movement is remarkable for form; the constant manipulation and excision of
its concision: atypically, Bach never restates the the episodes further contributes to variety and
opening ritornello, relying instead on sequences surprise without ever compromising musical
that make use only of melodic and contrapuntal unity. All of this proceeds beneath the surface of
snippets from the ritornello. The largo second great virtuosity, captivating and delighting list-
movement is built upon a long, descending line eners since Bach first fiddled this concerto himself
repeated at the fifth by the second of the two 290 years ago.
concerto violins; they alternate which pays the
theme first as they present it in different keys, –Brett Kostrzewski, September 2022
First in Flight | 9thank you
Bach Akademie Charlotte would not be possible without the generous support of our donors, our
sponsors, and our community partners. We would like to thank these generous individuals and
organizations for their continued support of Bach Akademie Charlotte. The following list acknowledges
contributions received from July 1, 2022 through October 15, 2022. If you feel your name is listed
incorrectly, please let us know so we may update our record.
Sara Levy Society Richard B. Metzler
Cornerstone Guild Haywood & Sabine Rankin
($10,000+) Emily & John Shusdock
Scott Allen Jarrett & Colin Mew
Member
Ann Howard Jones
($75–$249)
Susan & Geary Jarrett
Leslie Crow
Conductor’s Circle James Meena
($5,000–$9,999)
Donor
Elizabeth & Mark Hindal
Shazia Amin
Reta Phifer
Lisa Lashley & Francis Crochet
President’s Circle Garrett Murphy
($2,500–$4,999)
Community Partners
Robert & Caitlin Jones
The Cathedral of All Souls, Asheville
JSB Society Myers Park Presbyterian Church
Patron Circle Queen’s University of Charlotte
($1,000–$2,499)
Guest Hosts
Knox Porter
David and Tamara Robb
Gregory Thompson
Dianne & Jan Cates
Friends of the Akademie Elizabeth & Mark Hindal
($250–$999) Jill & Matt Willet
Jan & Dianne Cates Patricia Rosa
Kelvin Chang Ralph Canfield-Ruiz and Sam Mitchell
James Crosthwaite Reta Phifer
Ned & Susan Dana Tandy & John Graham
To give to Bach Akademie Charlotte, visit bacharlotte.com/support
10 | Bach Akadem ie Cha rlotteartistic director
S cot t Al l e n Ja rr e tt
S
cott Allen Jarrett is recognized as one
of the nation’s leading teachers and inter-
preters of the vocal works of Johann
Sebastian Bach. Building on a lifetime and
career devoted to the study and performance of
Bach’s music, Jarrett was appointed Artistic Direc-
tor of Bach Akademie Charlotte in July 2017. A
resident of Boston, he is the Director of Music at
Boston University’s Marsh Chapel and Resident
Conductor of the Handel and Haydn Society.
At Marsh Chapel, Jarrett oversees all musical
activities, including three choruses, an orchestra,
an ensemble-in-residence, and a professional
staff of singers and instrumentalists. Bach’s music
has been at the heart of musical life of Marsh
Chapel, and in 2007, Jarrett founded The Bach
Experience, an educational expansion of the
regular cantata performances throughout the
academic year.
A long time collaborator with the Oregon
Bach Festival, Jarrett led in 2017 the festival’s open-
ing performances of the St. Matthew Passion—the
only conductor other than Helmuth Rilling to
have conducted that masterpiece at the Oregon
Bach Festival since its founding.
Conducting a series of performances of Bach’s
Mass in B minor, Jarrett became the first guest
conductor to lead Miami’s Seraphic Fire. Since Vespers and as pianist on their 2012 Grammy®-
that time, Jarrett has guest conducted additional nominated recording of Johannes Brahms’s Ein
performances and also serves on Seraphic Fire’s deutsches Requiem. He also serves on the faculty of
Artistic Advisory Council. He can be heard as con- Seraphic Fire’s Professional Choral Institute in
tinuo player on their recording of the Monteverdi residence at the Aspen Music Festival and School.
First in Fligh t | 11soloists
AISSLINN NOSKY, VIOLIN AND LEADER FIONA HUGHES, VIOLIN
Aisslinn Nosky was appointed Concertmaster of Fiona Hughes holds degrees from Oberlin Con-
the Handel and Haydn Society in 2011. With a servatory and Cleveland Institute of Music. She is
reputation as one of the most dynamic and
a versatile performer of both modern and bar-
versatile violinists of her generation, Aisslinn is
oque violin, appearing with Apollo’s Fire, Wash-
in great demand internationally as a director, solo-
ist, and concertmaster. From 2016 to 2019, Aisslinn ington Bach Consort, Bach Akademie Charlotte,
served as Principal Guest Conductor of the Boston Baroque, and the Richmond Symphony.
Niagara Symphony Orchestra. She is currently Fiona has performed in numerous music fest-
Guest Artist in Residence with the Manitoba ivals, including Kinhaven, Encore, Brevard Music
Chamber Orchestra and an artistic advisor for the Center, National Repertory Orchestra, Banff
Portland Baroque Orchestra. Aisslinn is also a (Canada), Staunton Music Festival, and Pacific
member of I FURIOSI Baroque Ensemble.
Music Festival (Japan).
For twenty years, this innovative Canadian
ensemble presented its own edgy and inventive With Boston’s GRAMMY-winning Handel
concert series in Toronto and toured Europe and and Haydn Society, Fiona has recorded 10 CDs
North America, turning new audiences on to for release on the Coro label and worked with
Baroque music. With the Eybler Quartet, Aisslinn conductors Harry Christophers, Masaaki Suzuki,
explores repertoire from the first century of the Richard Egarr, Jonathan Cohen, and Scott Allen
string quartet literature on period instruments. Jarrett. She looks to Stephen Rose, Adam DeGraff,
From 2005 through 2016, Aisslinn was a member
and Marilyn McDonald as mentors. Fiona’s period
of Tafelmusik Baroque Orchestra. An avid edu-
bows are by David Hawthorne and Richard
cator, she serves on the faculty of EQ: Evolution
of the String Quartet, at the Banff Centre for Arts Riggall. Her primary violin is the ex-Vieuxtemps
and Creativity. Claude Pierray (1720 Paris).
12 | Bach Akadem ie Cha rlotteJOSH COHEN, TRUMPET ARWEN MYERS, SOPRANO
A native of Washington DC, baroque trumpeter Praised for her “crystalline tone and delicate
Josh Cohen is greatly sought after by leading passagework” (San Francisco Chronicle), soprano
early music ensembles throughout North Arwen Myers is known as a captivating and
America. For the past 14 seasons, he has been sensitive interpreter of repertoire spanning from
principal baroque trumpet with the Washington early to new music. A versatile artist known for
Bach Consort and the National Cathedral Bar- her flexibility and mastery of a wide range of
oque orchestra. He has performed as principal vocal colors and styles, Arwen has performed
and solo baroque trumpet for ensembles such as major works with Portland Baroque Orchestra,
Studio de Musique Ancienne de Montreal, Arion Early Music Vancouver, Pacific MusicWorks, and
(Montreal), Aston Magna (Boston), Houston Indianapolis Symphony Orchestra. Recent high-
Bach Society, Ensemble Telemann (Montreal), lights include Handel with Philharmonia Bar-
and participated in festivals such as the Inter- oque Orchestra & Oregon Bach Festival; Bach
national Festival of Baroque Music at Lameque and Purcell with Portland Baroque Orchestra;
(New Brunswick, Canada) and the Bach Festival Vivaldi, Monteverdi and Gabrieli with Early
of Montreal. Josh recently recorded J.S. Bach’s Music Vancouver; Fauré with Indianapolis
Brandenburg Concerto no. 2 with Montreal-based Symphony Orchestra; Handel Semele (title role)
Ensemble Caprice. with American Bach Soloists Academy; and fea-
Two recordings with prominent Canadian tured soloist on Chor Leoni’s JUNO-nominated
ensembles were both nominated for the 2009 album When There is Peace, a world premiere by
Juno Awards: “Let the Bright Seraphim” with Zachary Wadsworth.
soprano Karina Gauvin and Tempo Rubato, and Arwen has been featured with some of the
his recording of Vivaldi’s Gloria with Ensemble nation’s premiere chamber ensembles, including
Caprice, the latter of which won the Juno award Seraphic Fire, Bach Akademie Charlotte, and
for Best Album of the Year in the vocal category. Bach Collegium San Diego, and she is a core
Josh received his M.M. from McGill University member of Fear No Music, the acclaimed Portland-
and a B.M. from the New England Conservatory based new music ensemble. A native of Augusta,
of Music. Josh’s baroque trumpet was made by GA, Arwen holds degrees from the Indiana
Matt Martin of Norwich Natural Trumpets, after University Jacobs School of Music and currently
an original by Kodisch, 1710. lives in Portland, OR.
First in Fligh t | 13orchestra
VIOLIN English Concert in America
Fellowship as well as perfor-
JEANNE JOHNSON’s music
ming the World Premiere of
can be heard around the
Leonard Bernstein’s “Music
world, from Brazil to Indo-
for String Quartet” (written
nesia, Sweden to Turkey.
in 1936) at the Linde Center
She has been concert-
at The Tanglewood Music
master for the Washington Center in 2021 with mem-
Bach Consort and Atlanta bers of the Boston Sym-
Baroque Orchestra, and has phony Orchestra. She performs regularly as a core
performed, toured and member of Quartet Salonnières, Repast Baroque
recorded with numerous groups including Phil- Ensemble, Musicivic Baroque, and as concert-
harmonia Baroque Orchestra, Tafelmusik, Port- master of La Grande Bande, and and can be seen
land Baroque Orchestra, Chatham Baroque, Ashe- playing with groups such as The Handel and
ville Baroque, Bach Akademie Charlotte Festival, Haydn Society, the Washington Bach Consort,
North Carolina Baroque Orchestra, Nashville The English Concert, Opera Lafayette, The
Chamber Orchestra, Atlanta Symphony, Opera Mercury Chamber Orchestra, Seraphic Fire,
and Ballet, Charleston Symphony and Chatta- TENET Vocal Artists, Early Music NY, Shanghai
nooga Symphony. A winner of an Early Music Camerata, and Les Arts Florissants. She is cur-
America Professional Development Award in rently a doctoral student at the University of
2002, Jeanne gave a recital at the Yale University Maryland with a focus on Historical Performance
Collection of Musical Instruments in 2005, and pedagogy.
has been featured on several radio broadcasts
An early music specialist,
including Harmonia, Performance Today, and
ALLISON MONROE performs on
WNYC. Performances by her Baroque trio Music
Renaissance, Baroque, and
of the Spheres include The Frick Collection, the
Classical violin and viola,
Tage Alter Musik Festival in Germany, and the viols, vielle, rebec, medieval
San Francisco Early Music Society. In 2016, harp, and sings. Her perfor-
Centaur Records released Jeanne’s recordings of ming credits include con-
violin works by Johann Jakob Walther and Jean- certs with the Newberry
Fery Rebel with Eco dell’Anima. Consort, the Boston Cam-
erata, Apollo’s Fire, Atlanta Baroque Orchestra, Les
Praised by The New York Times for her “splendid Délices, Seattle Baroque Orchestra, Oregon Bach
playing,” NATALIE ROSE KRESS is based in Wash- Festival’s Berwick Academy, the Washington Bach
ington, D.C. Following three summers as a Tangle- Consort, Bourbon Baroque, Alkemie, and the
wood Fellow, she was awarded the Jules C. Reiner Brecon Baroque Festival Orchestra. She won Early
Violin Prize from the Tanglewood Music Center Music America’s 2017 Barbara Thornton Mem-
and performed with Yo-Yo Ma at the 2015 Kennedy orial Scholarship which enabled her to study in
Center Honors, honoring Seiji Ozawa. This year's Italy, England, and Switzerland for a few weeks.
highlights included winning the 2021 Mercury Allison has directed Case Western Reserve Univer-
Chamber Orchestra Fellowship and the 2022 sity’s (CWRU) Collegium Musicum, comprising
14 | Bach Akadem ie Cha rlottethe Medieval and Renaissance ensembles, since of the University of North
2018. Allison holds a Doctor of Musical Arts in Carolina at Greensboro. In
Historical Performance Practice from CWRU, addition to modern and bar-
where she studied with Julie Andrijeski, Ross oque violin, treble, tenor, and
Duffin, and Debra Nagy, among others. She bass viola da gamba, Allison
earned a Master of Music in Viola Performance performs on viola d’amore, a
from the Royal Welsh College of Music and rare 14-stringed instrument.
Drama and a Bachelor of Arts in Violin Perfor- Allison is a founding member
mance from the University of Maryland. of the North Carolina Baroque
Orchestra and Raleigh Camerata. She performs
CARME N LAVADA JO H N SO N - frequently with the Atlanta Baroque Orchestra
PAJARO, a native of Alabama, and Mallarme. Allison has appeared as a soloist
is a community-based artist with the North Carolina Baroque Orchestra, the
now living in New York Winston-Salem Symphony, the Salisbury Sym-
City. Raised in a family of phony, and NC Theatre. She maintains a private
music lovers, Carmen began studio from her home in Wake Forest, NC,
her musical studies with teaching violin, piano, and yoga.
jam sessions in the living
room and eventually found DAVID WILSON is a founding
her way to the world of historical performance. member of Archetti, the Galax
She is currently pursuing a master’s degree in Quartet, and other ensem-
historical performance at The Juilliard School, bles. He has taught baroque
studying with Elizabeth Blumenstock, Robert
violin at Indiana University,
Mealy, and Cynthia Roberts. Carmen recently had
where he earned his DM in
the opportunity to perform Haydn quartets on
Early Music. He also holds
original instruments at The Smithsonian and
Library of Congress. Her season includes per- degrees in violin from Bow-
formances with Juilliard415, Twelfth Night, Bach ling Green State University
Akademie Charlotte, Teatro Nuovo, TENET, and in Ohio and The Catholic University of America
Washington Bach Consort. Carmen’s commitment to in Washington, D.C. David teaches violin and
community engagement and education has led to chamber music and directs the orchestra at the
work in schools, shelters, and detention centers San Francisco Early Music Society’s annual
across the world. Carmen holds degrees in violin Baroque Workshop. In the last ten years, he has
performance from the New England Conser- performed and recorded classical music of India
vatory and the Eastman School of Music. and the Ottoman Empire with Lux Musica (East
Meets West Music and Golden Horn Records),
Freelance musician ALLISON WILLET followed in
contemporary music with the Galax Quartet
the footsteps of her grandmother, who was also a
(Innova Recordings and Music & Arts), and 18th
violinist. She began playing the violin at age six,
but was eager to learn many more instruments century concerti with Archetti (CentaurRecords).
including the clarinet and piano. Allison graduated He is the author of "Georg Muffat on Performance
summa cum laude from Appalachian State Uni- Practice," published by Indiana University Press,
versity in 2006 with a degree in violin per- and of the article on Georg Muffat in “The
formance. She completed a master’s degree in Cambridge Encyclopedia of Historical Perfor-
2008 in violin performance at the graduate school mance in Music.”
First in Fligh t | 15VIOLA Texas with Emanuel Borok, where she also stud-
ied baroque violin with Cynthia Roberts, and her
MAUREEN MURCHIE performs
bachelors from the University of New Mexico
on modern and baroque vio-
with renowned Brazilian soloist Cármelo de los
lin and viola across the U.S.
Santos. In addition to her primary instructors,
as well as in China, Japan,
Renée’s mentors include Brandon Chui, Paul
and Europe. In addition to
Kantor, Charles Wetherbee, and David Halen. Renée
her work as acting concert-
has been presented in master classes with the
master of the Bismarck-
Takacs Quartet, Pacifica Quartet, Jupiter Quartet,
Mandan Symphony Orch-
Escher Quartet, American Quartet, Augustine
estra and principal viola of
Hadelich, Don Weilerstein, Sylvia Rosenberg,
Bach Akademie Charlotte, recent performing
Vadim Gluzman, Matt Albert, Stephen Rose, and
engagements include Handel and Haydn Society,
Peter Otto.
Trinity Baroque Orchestra, NOVUS NY, Helicon,
American Classical Orchestra, New York Baroque
MARTA SODERBERG HOWARD
Incorporated, The Sebastians, Norfolk Chamber
performs in groups through-
Music Festival, and the Broadway pits of Tootsie
and Farinelli and the King. In December 2021 she out the Washington, DC
performed the viola solo in Mozart’s Sinfonia area and the Carolinas, from
Concertante with violinist Aisslinn Nosky and the the Folger Consort and the
American Classical Orchestra at Lincoln Center’s Manassas Ballet to Three
Alice Tully Hall. Maureen holds a doctorate from Notch’d Road and the Res-
the University of Illinois at Urbana-Champaign, idents’ Own Baroque Orch-
where she wrote a dissertation on the history of estra, in venues ranging from
the Sendai Philharmonic Orchestra. She is fluent Washington National Cathedral and Signature
in Japanese and in demand as a translator, interpreter, Theatre to assisted living facilities around North-
and editor. She is the Marketing Operations Man-
ern Virginia. She is the viola soloist with Wyoming
ager at BIA, a Manhattan-based eDiscovery and
Baroque, which premieres modern works for
digital forensics firm.
baroque instruments, and Assisi Performing Arts,
RENÉE HEMSING, a native of a modern chamber music festival held each
New Mexico, specializes in summer in the historic Umbrian hill town. Marta
chamber music and early is also a long time performer with The Wash-
music performance on violin ington Bach Consort and The North Carolina
and viola. In addition to rec- Baroque Orchestra. A native of Duluth, MN, she
ent performances with such is a graduate of the Interlochen Arts Academy, the
ensembles as the Handel University of Wisconsin, the Manhattan School of
and Haydn Society, Conn- Music, and the University of lowa. She has many
ecticut Early Music Festival, years’ teaching experience on the faculties of the
Seraphic Fire, she is the violist of Beacon String
Preucil School in Iowa City, the Cleveland Institute
Trio with violinist Susanna Ogata and cellist Guy
of Music/Case Western Reserve University, George-
Fishman. She earned her doctorate at the Uni-
versity of Colorado where her string quartet, Ajax town University, and presently at Sheridan
Quartet, was Quartet-in-Residence for two years College in Wyoming. Marta plays a Jason
with mentorship by the Takacs Quartet. She Viseltear copy of a c.1650 Giacomo Gennaro
earned her masters at the University of North viola.
16 | Bach Akadem ie Cha rlotteCELLO Centennial Orchestra tour across America in 2006.
GUY FISHMAN is principal He has also participated in the PMF, Tanglewood,
cellist of the Handel and Kent Blossom, and Round Top Festival. He is a
Haydn Society. He is in former member of the Canton Symphony and
demand as an early music served as the assistant principal cellist in the World
specialist in the U.S. and Youth Orchestra for Peace, presenting concerts in
Europe. Guy has performed Hiroshima and Nagasaki to commemorate the
with Seraphic Fire, Arcadia 70th anniversary of the atomic bombings of those
Players, Connecticut Early two cities. Ryan’s radio appearances have include
Music Festival, Querelle des
the From the Top radio show at the Kennedy
Bouffons, Les Violons du Roi, Orchestra of St.
Center, where he won the audience choice award
Luke's, Boston Baroque, Apollo’s Fire, Emmanuel
Music, the Boston Museum Trio, Boulder Bach and two appearances on Classic 99’s Young Heroes
Festival, and El Mundo, among others. In addition in Music in St. Louis. Ryan was fortunate enough
to concerto appearances he has been presented in to travel to Zimbabwe, where he worked with
recital with Dawn Upshaw, Mark Peskanov, Eliot orphan and schoolchildren in and around the
Fisk, Richard Eggar, Lara St. John, Gil Kalish, Kim capital of Zahare, teaching music composition
Kashkashian, and Natalie Merchant. Guy’s and related musical subjects.
playing has been praised as “plangent” by The
Boston Globe, “electrifying” by the The New York
BASS
Times, and “beautiful....noble” by the Boston
Herald, and “dazzling” by the Portland Press Herald. SUE YELANJIAN, contrabass, is
The Boston Musical Intelligencer related having the principal bassist for
“…heard greater depth in [Haydn concerto] than I Apollo’s Fire and The Cleve-
have in quite some time.” Guy studied with David land Baroque Orchestra. She
Soyer, Peter Wiley, Julia Lichten, and Laurence has performed with many
Lesser, with whom he completed doctoral studies North American baroque
at the New England Conservatory of Music. He orchestras, including Tafel-
now serves on the faculty there. In addition, he is musik, the Handel and Haydn
a Fulbright Fellow, having worked with famed
Society, Chatham Baroque,
Dutch cellist Anner Bylsma in Amsterdam.
and Indy Baroque. She has toured extensively and
has performed at music festivals such as Tangle-
RYAN MURPHY received his
master’s degree from the wood, Ravinia, Aspen, the Drottingholm Opera
Juilliard School and bach- Theater in Sweden, and the Klang und Raum
elor’s degree from the Cleve- Festival in Germany. Sue appears on numerous
land Institute of Music. As recordings on the Koch, Analekta, Electra, and
the result of placing second Canadian Broadcasting Corporation labels. She
in the Sphinx Competition attended Oberlin Conservatory and received
in 2003, Ryan made his solo degrees from the Cleveland Institute of Music and
debut with the Detroit Sym- Boston University.
phony, followed by an additional appearance
with the Cleveland Orchestra. Ryan is an avid KEYBOARD
orchestral player and participated in the Juilliard See SCOTT ALLEN JARRETT’s bio on page 11.
First in Fligh t | 1718 | Bach Akadem ie Cha rlotte
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