Concerts

online premiere
October 17, 2021

Joy & Sorrow

Across the Waters

concert is free

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Rachell Ellen Wong

Early 17th-century European music for violin and harpsichord, interspersed with traditional music and stories of the Coast Salish People, featuring Native American flutist Paul Chiyokten Wagner and the beloved duo of Ingrid Matthews and Byron Schenkman.

“Letting this ancient wisdom enter the intelligence of our hearts will place us inside of the circle of life, to create long lasting innate harmony and peace around us and within us.”

— Paul Chiyokten Wagner

 

Paul Chiyokten Wagner

Flute & Storyteller

Ingrid Matthews

VIOLIN

Byron Schenkman

Harpsichord

Program


Bartolomeo de Selma y Salaverde:

Canzona III (for violin and continuo)

Maddalena Casulana:

Amor per qual cagion (for harpsichord)

Paul Chiyokten Wagner:

Elk Spirit Calls (for flute and drum)

Jan Pieterszon Sweelinck:

Unter der Linden grüne (for harpsichord)

Johann Schop:

Lachrymae Pavan (for violin and continuo)

Paul Chiyokten Wagner:

Skitu: story of a merwoman

Paul Chiyokten Wagner:

Gentle Crystalline Waters (for solo flute)

Paul Chiyokten Wagner & Byron Schenkman:

Salish Sea Improvisation (for flute and harpsichord)

Andrea Falconieri:

La Monarca (for violin and continuo)

Giovanni Battista Fontana:

Sonata III (for violin and continuo)

an intelligently programmed and charmingly presented concert that mixed masterworks with some fascinating novelties.

— Thomas May, Memeteria

 

Program Notes


Many of us grew up with myths and legends about a great ship called the Mayflower which sailed across the ocean bringing religious freedom and civilization to a new world. In some versions there was no civilization to speak of when the settlers arrived; in others, any Indigenous culture was completely eradicated by wars and diseases brought from Europe. These stories have failed to acknowledge the continuing presence and rich culture of Indigenous Peoples still struggling today to honor and protect the land of their ancestors for future generations. In this program, we are juxtaposing European music from the time of the Mayflower with music and storytelling from the Coast Salish tradition of the land we currently inhabit. 

The music of Paul Chiyokten Wagner is rooted in the ancient forests and waters of the Salish Sea. It is a gift of healing, recalling a time when seeds of deeply felt respect for all creation were planted. Coast Salish Elders placed sacred teachings in the hearts of their children. The circle of life was held to be holy, and Chiyokten’s music helps us connect to that circle.

Since the first Europeans to settle what is commonly known as the United States of  America came from Spain, we are beginning our program with music by the Spanish composer Bartolomeo de Selma y Salaverde, from a collection of his instrumental music first published in Venice in 1638. Like many of the Italian canzoni da sonar (instrumental songs) of the period, this piece is made up of many short contrasting sections.  Maddalena Casulana was a celebrated composer of madrigals in 16th-century Venice. In addition to the volumes which she herself published, her work appeared in several late 16th-century anthologies of music by the most distinguished composers of the time.

 

Our program also includes settings of two popular English songs from the early 17th century: the folksong Under the Linden Green with variations for keyboard by the Dutch organist Jan Pieterszoon Sweelinck and an unusual arrangement of John Dowland’s  Lachrymae Pavan (also known as “Flow my Tears”) by the German violinist Johan  Schop. Schop’s arrangement for violin and continuo is found in the 17th-century Dutch collection T’Uitnemend Kabinet (“The Excellent Cabinet”).

Empires rise and fall. In the early 17th century the Spanish empire controlled vast amounts of land around the world, including the Netherlands. Andrea Falconieri was employed as master of music at the Spanish court in Naples. Meanwhile, Venice remained a major center for music publishing. A collection of sonatas by Giovanni  Battista Fontana, an Italian violinist who had died of the plague in 1630, was published there in 1641.

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