Next Up: Sanguine and Melancholic
Join OBC for particularly affective repertoire from the eighteenth century for two violins, cello, and harpsichord. The program includes a solo cello sonata by Graun, two solo violin sonatas by Abel and CPE Bach, and three trio sonatas by Quantz, Janitsch, and CPE Bach, including Bach’s trio in C minor, titled Sanguineus and Melancholicus, a programmatic work widely applauded during its time.
Jannie Wei and Wyatt True, violins
Marc Vanscheeuwijck, cello
Margret Gries, harpsichord
Sunday, April 24 @ 3 pm
United Lutheran Church
2230 Washington St, Eugene
For more information and to purchase tickets:
(Photo credit: Holly Roberts)
Join OBC’s Ensemble Primo Seicento on March 5 at 7 pm in Central Lutheran Church.
Music of Pleasure and Desire features Ensemble Primo Seicento in early music for cornetto, trombones, voices, and organ, in the beautifully resonant space of Central Lutheran Church. This is largely music written and published in Venice, but with a new musical style spread rapidly to the rest of Europe. We will perform motets by G. M. Cesare, an Italian who worked in Augsburg and Munich, and Andreas Hammerschmidt, who adapted the Italian style to music in German, for Lutherans.
Venetian music featured on the program is by Riccio, Legrenzi, Marini, Neri, and Cima. Spanning the years from 1617 to 1655, this was a period of great diversity when the beginnings of the trio sonata and other modern developments could be heard mixed with the old modal system.
Ensemble Primo Seicento includes Doug Sears, cornetto and tenor; John Loughran, tenor; Barrett Codieck, Baroque trombone and recorder; Bodie Pfost, Baroque trombone and bass; and Margret Gries, organ.
Admission is free. Suggested donation: $15 for general admission, $12 for seniors, and $5 for students.
Oregon Bach Collegium presents:
The Food of Love: Shakespeare’s Music
Friday, February 5 @ 6 pm
Eugene Public Library
On First Friday, Shakespeare himself will host an instrumental concert entitled The Food of Love – Shakespeare’s Music. The Oregon Bach Collegium will perform pieces inspired by Shakespeare, featuring works written and performed during his lifetime and since.
The concert will be emceed by Shakespeare himself, played by Geoff Ridden, who will explain the music and its use in his plays. Musicians will be Wyatt True (violin), Marc Vanscheeuwijck (cello), and Margret Gries (harpsichord).
September 27 at 2 pm in the Hope Abbey Mausoleum
(park on street near 25th or 26th and University)
Ensemble Primo Seicento performs in the lushly reverberant marble surroundings of Hope Abbey Mausoleum. The earliest Baroque music was composed for acoustically similar spaces in Northern Italy, and the resonance adds an enveloping depth to the instrumental and vocal sound. We’ll present works by Marini, Cavalli, Castello, Riccio, Cesare, Viadana, Legrenzi, and Donati, in varied combinations of voices, violin, cornetto, and trombones, with harpsichord.
Inspired by Venice’s golden age, Ensemble Primo Seicento has been mining the wealth of music published in northern Italy in the early 17th century, when the first Baroque composers were pursuing their goal of portraying vivid emotions both in song and in instrumental music. We use combinations of voices and instruments similar to what could have been heard in a Venetian church back then. The ensemble is Holly Roberts, Baroque violin, Doug Sears, cornetto and voice, Bodie Pfost, Baroque trombone and voice, Barrett Codieck, Baroque trombone, and Margret Gries, keyboards.
Sunday, May 10, 3 p.m.
United Lutheran Church
22nd and Washington, Eugene
Joon Park, director
Brandenburg concerto #4 with soloists Wyatt True, Kim Pineda and Meredith Beck
Brandenburg concerto #5 with soloists Holly Roberts, Kim Pineda and Margret Gries
Our season concludes with a large ensemble concert integrating philosophical ideas and practical music. Ph. D. candidate Joon Park leads a program that features music of J. S. Bach, including his E minor flute sonata and Brandenburg concertos #4 and #5. These works will be contrasted with a violin sonata by French composer Elizabeth Jacquet de la Guerre. Each of these four compositions demonstrates a style of Western music that would last for centuries. Soloists include Wyatt True, Holly Roberts, Kim Pineda, Meredith Beck and Margret Gries.
From the Dresden court to Les Tuileries central pavilion, concerts featuring the traverso became venues for the highest level of artistry. In Paris Michael Blavet brought the flute into a place of prominence at the Concert Spirituel, the first public concert series in France. Our program features Kim Pineda, traverso, in one quartet by each of the composers celebrated in this program. Johann Joachim Quantz was also a flute virtuoso and composer. As instructor for Frederick the Great, Quantz was called upon to produce a prodigious number of compositions for his master, but his quartets contradict any association with the gallant “Berlin Style.” They are instead masterpieces of counterpoint for four independent voices. Telemann’s “Paris” quartets were written at the invitation of Blavet and other virtuosi at the Concert Sprituel, and were regarded as some of Telemann’s most frequently performed works.
Our program opens with Telemann’s A Minor ‘Paris’ quartet, followed by sonatas by Blavet (Op. 3 #5), LeClair (Op 3 #7), and Barrière (Op4 #1), a trio sonata by LeClair (Op 8) and concludes with Telemann’s A Major ‘Paris’ quartet. Performers are Kim Pineda, traverso, Michael Sand, baroque violin, Marc Vanscheeuwijck, ‘cello, Ann Shaffer, viola da gamba, Sarah Pyle, traverso and Margret Gries, harpsichord.
Tickets and more information at http://www.oregonbachcollegium.org/current-season/#concert7
Oregon Bach Collegium presents: Music for Holy Week
Sunday, March 29, 5pm
Church of the Resurrection
3925 Hilyard, Eugene
Texts for this meditative program include the Stabat mater, the famous 13th century poem describing Mary’s response to the crucifixion, and the Lamentations of Jeremiah that document sorrow over the destruction of Jerusalem. The program features a powerfully expressive setting of the Stabat mater by 17th century composer Giovanni Felice Sances, and François Couperin’s Leçons de Ténèbres from 1714. Musicians include sopranos Heather Holmquest and Jan Nelson, with Margret Gries, harpsichord and Ann Shaffer, viola da gamba.
Per Cembalo solo… March 15th @ 3 PM
This recital of keyboard music of J. S. Bach will include the E Minor toccata, preludes and fugues from the Well-Tempered Clavier Book II, and the Overture in the French Style. Audience members will be seated surrounding the instrument, providing an intimate listening experience for this exploration of Bach’s intensely complex solo compositions.
About Margret Gries
Margret Gries has pursued a career in music that has combined academic interests and professional performance. Since returning to the Pacific Northwest in 1971, Gries has established herself both as a recitalist and as a valued member of early music ensembles. She has given recitals for conventions of the Organ Historical Society and participated in programs for the American Guild of Organists. She also has presented annual harpsichord and organ recitals during her tenure as a faculty member at Central Washington University.
Gries has also studied and performed extensively on early string instruments including Renaissance and Baroque violin and viola, and vielle. As a student of Stanley Ritchie, her professional baroque violin concerts began in Seattle in 1978 as concertmaster of the city’s first Baroque orchestra under the direction of Richard Sparks. She was a founding member of the Portland Baroque Orchestra, and has continued as a freelance performer for many early music ensembles in the Seattle area. Since 2000, she has served as the conductor and music director of the Jefferson Baroque Orchestra in Ashland, Oregon. Gries also participated for many years as a lecturer and continuo harpsichordist for Early Music Vancouver’s summer programs.
Margret Gries studied philosophy and music at Pacific Lutheran, Yale, and Cornell universities. She has been an instructor in harpsichord at the University of Washington and in music and philosophy at Central Washington University. Upon completing a Ph. D at the University of Oregon, she now serves there as an adjunct member of the music history faculty, where she directs the Collegium Musicum and teaches continuo.
Harpsichordist Margret Gries will present music from several of Bach’s keyboard publications, including preludes and fugues from the Well-tempered Clavier and Clavierubung II. This performance showcases both the inventiveness of Bach’s contrapuntal genius and the beauty of his melodic gestures. Presented in the resonant acoustic of United Lutheran’s sanctuary, our audience members will be close enough to have an intimate encounter with Bach’s musical material.
For tickets, visit: http://www.oregonbachcollegium.org/current-season/#concert6
Guitar in the Age of Beethoven featuring 19th century guitar duets performed by James Edwards and David Rogers. This concert is on February 8th at 3 PM. To purchase tickets, please vist the concert page Here!
James Edwards and David Rogers present a program of virtuosic 19th century guitar duets on original instruments. Music by Fernando Sor, Antoine De Lhoyer, Ferdinando Carulli and Wolfgang Amadeus Mozart will be performed. David and James will play a variety of 18th and 19th century guitars, both original instruments and modern copies. Featured guitars are a 1798 Giovanni Fabricatore instrument currently on loan from the Schuman Collection at Southern Oregon University and an 1820 François Roudhloff owned by Mr. Edwards. Also featured will be a copy of a Gennaro Fabricatore guitar (Giovanni’s son) made by Eugene based instrument maker Bradley Wycoff. The program is very fun for the guitarist. Each player has many featured moments and the music bounces along with great vitality.
Recently termed, ‘a prominent guitarist,’ by the New York Times, David Rogers maintains an active solo and ensemble performance career as a classical guitarist and performer on early plucked strings. The Washington Post has praised his ‘astonishingly florid’ improvisations. He has been called a ‘modern master’ of the classical guitar’ by 20th Century Guitar. Classics today.com has praised his ‘first rate instrumental artistry,’ and the Lute Society of America Quarterly has called his technique ‘formidable.’ He is an endorsing artist for GHS Strings and his music has been featured in major guitar magazines such as Fingerstyle Guitar in the United States and Akustic Gitarre in Germany.
James Bishop-Edwards has been a performer, teacher, composer and recording artist for over 35 years. He plays not only the rich and varied traditional repertoire, but also his own compositions and contemporary genres as well. James plays historical instruments of the Renaissance and Baroque periods such as the five-course guitar and eight-course lute. He was head of the guitar dept. at Southern Oregon University in Ashland for several years, and previously on the faculty as guitar instructor at California Polytechnic University in San Luis Obispo. Mr. Bishop-Edwards is also artistic director for the Bailey Guitar Foundation of the Central Coast of California. James has over twenty recordings to his credit, which feature his arrangements of American and European classics. Six books of these arrangements have been published by Mel Bay Publications.
Join us next Sunday, January 18th, for Dueling Violins! Jannie Wei and Wyatt True are backed by a continuo section of Margret Gries and Marc Vanscheeuwijck in a program of 17th century Italian repertoire. For details and tickets, visit the concert page Here!