SEATTLE RECORDER SOCIETY

Recorder Notes

April 2014 Vol. XLV, No. 7

From the Music Director SRS MEETING (Peter Seibert) Friday, Our April meeting will start with the Annual Meeting, which April 4th, 2014 has been moved from the May meeting in order to allow more time @ 7:30 p.m. for the Members’ Night program. An important order of business will be the ratification of the new set of by-laws. Those have not been changed since our official incorporation in 1978, and it is time for Opening Activity them to reflect our current needs as a society. Annual business meeting

Following the Annual Meeting, Sally Mitchell’s crew will remain with us for the entire playing session. During the year, they Playing Session have worked on the Francisco Guerrero Magnificat primi toni, and (Peter Seibert) our combined groups join together to play this fine music. This interesting work for SATB employs the chant melody in some of Music of Guerrero the movements. and Handel

We’ll end the evening by playing several movements from the Backroom Gang Handel Water Music, Suite 1, for full recorder orchestra. Many of us (Sally Mitchell) played this new arrangement in St. James Cathedral as part of the International Handel Festival in 2011. This will be the final group Staying with playing session of our season. the large group tonight

Get your act together for Members’ Night!

Members’ Night Is Coming Up Soon! SRS By-laws (Kathleen Arends) to be Updated!

Members’ Night is Friday, May 2nd! To see the proposed

Please send your name or ensemble name (including names of all by-laws, check members) with the title and composer of the piece you’re performing to the SRS website under the [email protected] to reserve your spot! April 4th meeting notes.

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Sitka Center Residency for SRS Member Refreshments (Charles Coldwell) (April)

Seattle recorder player Charles Cookies Coldwell is this year’s Recorder Resident at Susan Burris the Sitka Center for Art and Ecology on the Betty Swift Oregon coast. Charles will be in residence for six weeks at the Sitka Center in April Fruit and May, and will also be teaching on the Paola del Sol faculty of the Winds and Waves Recorder Workshop. Many Seattle Recorder Society Veggies members have attended the Winds and Kathleen Arends Waves workshops held there each spring,

and are aware that the Oregon Coast Recorder Society sponsors the Recorder Residency, along with the Winds and Thank you for volunteering! Waves workshop. Vicki Boeckman has twice been a resident at the Sitka Center, in 2005 and 2010. 2013/2014 SRS Meetings Charles’ residency will focus on arranging and editing music for solo recorder and recorder ensembles, and developing and practicing a program Meetings are usually held of music for solo recorder performance. on the first Friday of each month, October to May, The latter project, preparing a program for performance, will draw at 7:30 p.m., Maple Leaf on music that he is currently editing for publication – one or two volumes of Lutheran Church, 10005 nd divisions on ground basses for the recorder titled The New Division Flute. 32 NE, Seattle. Meetings These are divisions not found in the original Division Flute collection from include a short performance or the18th-century, but culled from the Division Violin and other print and lecture of interest to recorder manuscript collections of variations and divisions dating from the 16th and viol players, ensemble through the 18th centuries. Charles played some of these pieces during his playing for all levels of recorder performance for the SRS November meeting. players, and a beginning recorder ensemble. A $5.00 Another major project is continuing work on transcriptions for donation is requested recorder orchestra of Respighi’s three suites of Ancient Airs and Dances. for non-members. CharIes produced an initial arrangement of the first suite that he taught at the 2007 Port Townsend workshop, and directed movements from that October 4, 2013 work with the Recorder Orchestra of Puget Sound in 2010. He is currently November 1, 2013 completing that edition for publication. Suites II and III remain to be December 6, 2013 January 3, 2014 arranged. An additional aspect of the project is a separate edition for February 7, 2014 recorder ensemble of the Renaissance sources for Respighi’s suites. Charles March 7, 2014 hopes to complete (or at least get a good start) on one of the remaining April 4, 2014 suites and possibly the collection of Renaissance originals during his May 2, 2014 residency.

The Sitka residency provides an ideal opportunity for Charles to work on these projects, and a significant period of concentrated time to Board Meeting devote to these projects without the sort of everyday distractions and interruptions that can come up when working at home. As a guest instructor ** Reminder ** for the Wind and Waves Recorder Workshop, it offers opportunities to explore and hear different “orchestrations” and voicing for the Monday, June 16th, 2014 arrangements, and to “debut” some of those arrangements. Charles finds 7:30 p.m. working in new environments and situations to be refreshing – they provide a mental “reset” and focus. And the beautiful surroundings and artistic community at Sitka Center will be energizing and supportive. Hanan’s house

ARS Elections – It’s Time to Vote! SRS’ Nancy Gorbman is a Candidate! SRS Members (Nancy Gorbman) on Stage! The elections for board members of the American Recorder Society are underway! All current ARS members can vote for up to five candidates. New Baroque Orchestra Your vote counts! I am honored to be a candidate and have included high- Spring Concert lights of my background and goals below. Please see the Spring 2014 “ARS Newsletter” (enclosed with the American Recorder magazine) for your ballot Come and hear SRS members and statements by all 10 candidates. Ballots must be postmarked by June 1st. playing instruments other than recorders! Recorder playing has been my lifelong passion. I would be an enthusiastic advocate for the ARS and enjoy connecting with people through (Hanan Bell, Karen Berliner, music enrichment. My skills in fundraising, publishing, arts administration, Ellen Seibert, Gerrity Shupe, education, and finance would make me a great asset to this organization. and Molly Warner) BACKGROUND: Arts Administration: Founder/Director, Kyuquot Sound Recorder Workshop, Trinity Parish Church Kyuquot, B.C., Canada (2006-2008); Accounting, Seattle Public Theater (1996- Sunday, April 13th, 3 pm 1998); Fundraising, Finance, and Systems Management, Seattle Symphony Orchestra (1980-1985), Seattle, WA.

Boards: Board Member/Newsletter Editor, SRS, Seattle, WA (2004-2013); Acoustic Cadence Seattle Symphony Orchestra Board – Fundraising Committee Staff www.acousticcadence.com Liason (1981-1982), Seattle, WA. (Tomo Morita, recorder, Education: B.A. Music, B.M. History, Univ. of Washington; Seattle, WA (1978). Bryn Cannon, violin/viola, Recorder Performances: Chora Nova (2013); Bay Area Baroque Orchestra and George Myers, guitar) (2012), Berkeley, CA; Maple Forest Duo (2011-2013); New Baroque Orchestra (2007-2013), Seattle, WA. Alexa's Cafe, Bothell Saturday, April 5th, 7–9:00 pm Volunteer Work: Early Music Guild (2009-2013), Seattle, WA; Port Townsend Early Music Workshop (2003, 2013), Port Townsend, WA and Tacoma, WA. No cover charge!

GOALS: Promote recorder education on a local, national, and international level ---Support programs that provide concerts, instruction, history, ensemble coaching, festivals, and other events that include recorder in multi-art experiences including music, dance, theater, and art ---Encourage support of musicians to visit schools and give workshops in Recorders of Aldo Abreu conjunction with concert appearances (see article below) Provide opportunities and outreach support for recorder programs in the community at large ---Establish music library resources, instrument lending, and beginners programs locally through more support of local chapter projects ---Provide support for local recorder ensembles to perform in community centers, nursing homes, and other local venues through chapter grants

Encourage collaboration between advanced and amateur players ---Support recorder music festivals and events that include mixed-level playing with professionals, amateurs, college graduates, and students Photo by Bill Stickney Broaden membership base ---Enhance benefits of membership by providing more discounts at recorder workshops, classes, concerts, festivals, and music vendors

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SRS’ Three-Part Celebration on March 22nd, 2014 (Molly Warner) (Photographs by Bill Stickney)

March is Play-The-Recorder Month, and quite serendipitously we had three events fall into our laps that we combined into a half-day celebration at the Maple Leaf Lutheran Church.

Several months ago our president, Ellis Hillinger, was contacted by Aldo Abreu, a recorder professional from based in Boston, with a request to help out with a concert he wanted to present in Seattle on March 22nd. At nearly the same time, we learned that the board of the American Recorder Society would be meeting in the Seattle area that same weekend. The ARS Board asked the Seattle chapter to host a potluck followed by a playing session on March 22nd. The obvious answers to these requests were, “Yes! Yes! and Yes!” It was also apparent that stringing these three events together in the same location made sense in terms of logistics and participation. Fortunately there were no events scheduled that day on the calendar of the Maple Leaf Lutheran Church, and we were able to secure the sanctuary for the concert followed by the community hall for the potluck and playing session. By pure luck, there were also no other early music concerts in Seattle that day.

Aldo Abreu's concert in Seattle was the final stop in a three-year project of a very personal nature. He is the son of a Venezuelan father, keyboardist Abraham Abreu, who studied in the USA, and an American mother, the cellist Janet Foxton, who grew up in Spokane. Aldo came from a family of professional musicians and is continuing the tradition with his own career and marriage and in the education of his two children. Aldo's mother died when he was a year old, and when Aldo was seven his father was remarried to another musician (a wonderful stepmother, he told me). Aldo's project evolved from scrapbooks that his mother had kept – in particular, one devoted to a three-month tour of Europe that she made in 1957 with an all-female string orchestra, the Portland Little Chamber Orchestra. Participants were young women aged 14 to 30, led by a male conductor. They memorized all their music, dressed alike for their concerts wearing sleeveless white dresses with long billowing skirts, and made quite a hit in the European cities where they played. (Photo at right courtesy of A. Abreu.)

Armed by the concert programs, Aldo decided to try to track down surviving orchestra members who had toured with his mother, and over the past three years has managed to find most of them, who are now in their 70's and 80's. Most are in the Portland, OR area with some in Seattle and a few others scattered in Montana and California. Some are still playing professionally. He also found Bruce Bailey, a cellist in the Seattle Symphony, who as a child played duets with Aldo's mother. The Portland Historical Society has lots of material on the Portland Little Chamber Orchestra, donated by the husband of one of the deceased members. Aldo has spent a good deal of time meeting his mother's friends, gathering their stories, and making music with those who are still playing. And to complete his project, he gave two concerts in honor of these friends, one in Portland on March 16th, and the second in Seattle on March 22nd.

And what a concert this was! Aldo played works from the 14th to the 20th centuries, using recorders from bass to garklein, and playing entirely from memory except for two modern works. The audience, including several children, gave him rapt attention and sat completely still for each piece. Aldo began with a brilliant 14th century Saltarello, lively and full of trills. This was followed by recercadas by Ortiz and Virgiliano, beautifully executed. Aldo then spoke for a while about his project; he introduced people in the audience who had played in the PLCO whom he was honoring with this recorder recital. He promised that some of them would be accompanying him in the final piece. We then heard a lovely six-movement suite by Boismortier, each section its own little gem. “Ofrenda,” written by Mario Lavista in 1986, was full of glissandos, vibratos, 'spitting' into the recorder, and use of

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Three-Part Celebration (continued) the voice while blowing to create harmony. I particularly enjoyed the use of rapid alternate fingerings with normal fingerings to create slight variations in tone and pitch. The piece ended with Aldo playing the tonic note of the scale, simultaneously singing the dominant. Then, back he went to the late Renaissance with two pieces about nightingales, a famous one we've all heard by Jacob Van Eyck on soprano, and one less familiar by Jacob Van Noort on garklein. This last was very fast and shrill – what a tour de force! The first half of the concert ended with a chaconne from a violin partita by J.S. Bach. Aldo easily traversed the fast and fancy passages where a violinist would cross all four strings; his fingers flew so fast.

After intermission, we heard a classical piece, “Sonate Brillante” in three movements by Anton Heberle. For “Gesti,” written by Luciano Berio in 1966, Aldo again used the music stand; this would be very difficult to memorize, let alone learn. There was much wiggling of fingers, humming, sudden blasts of breath into the recorder, glissandos, and flutter tonguing. The finale was Vivaldi's concerto for sopranino and strings, with former members of the Portland Little Chamber Orchestra in the violin section and Bruce Bailey on cello. WOW! Thank you so much, Aldo Abreu! We loved your playing and we loved your living history project!

After the recital, SRS members and Aldo trooped downstairs for a delicious potluck dinner, where we were joined shortly by thirteen members of the board of the American Recorder Society who had been working all day long at a hotel in Edmonds. We were all sorry they had missed the concert! Betty Swift and helpers had arranged three tables for main dishes, salads, and desserts under the windows, with tables and chairs in the middle of the room and drinks in the window to the kitchen. Tablecloths and flowers added to the welcome for old friends and new.

After dinner came the third part of our celebration. We cleaned up the dinner tables, rearranged the chairs into the familiar concentric semi-circles, and dug out our instruments. As we are celebrating the 75th birthday of the American Recorder Society this year, ARS president Laura Kuhlman led us in with a “Happy Birthday, ARS” piece written for the 50th birthday, based on the familiar “Night Watch” by Holborne. Former ARS president Lisette Kielson directed Frances Blaker's “In Sight of the Ocean,” a lovely quartet that worked as well for a big group as it does for one-on-a-part. Laura Kuhlman then conducted “Lachrimae Tango,” a delightful piece by Andrew Melville who took one of John Dowland's lachrimaes and added a South American accompaniment – really fun! Finally, Aldo Abreu directed us in the ouverture section of Telemann's “Fantasia #7,” written for solo recorder, but arranged by Aldo for recorder orchestra. He played the original for us first, in which the solo alto plays many broken chords that Aldo had rearranged for quartet. We worked on articulation section by section, then played the whole piece through – very nice! He gave us the score and parts for our music library, and I know we shall be happy to play this again.

Play-The-Recorder-Month was well celebrated in Seattle in 2014! 1

Meeting Notes: March 7, 2014 (Molly Warner) (Photographs by Bill Stickney) Recorder Classes (from Laura Faber) Our March meeting opened with a visit from the Note: New beginners are fabulous Eva LeGêne, a Dutch- welcome at any time. born recorder virtuosa and Contact Laura to get started. educator of music, married to a Dane, and a professor of music Advanced Beginner/Lower who recently retired from Intermediate Ensemble Indiana University's Early Music Tuesdays - 7:30 to 9:00 pm Institute. Eva studied recorder with Frans Brüggen, and taught Advanced Beginner/Lower at the Sweelinck Conservatory Intermediate Ensemble in Amsterdam and The Royal Thursdays - 11:30 am to 1 pm Danish Academy of Music in Copenhagen before moving to Indiana. She has performed widely on several Intermediate Ensemble continents. Eva was in town to perform at the Gallery Concerts together with Tuesdays – 1:00 to 2:30 pm the Dutch viola da gambist Weiland Kuijken and local harpsichordist Jillon Dupree, who studied in Holland. Eva's Seattle connections are strong: she Bass Class taught at the Port Townsend Early Music Workshop during the 1980's, then 2nd & 4th Saturdays recommended for the faculty her student Vicki Boeckman who, years later, Beginning Jan. 25, 2014 has made Seattle her home and is now the PTEMW's music director. Those 10:00 – 11:00 am of us who knew Eva at Port Townsend were thrilled to meet her again, and those who knew her only by reputation were equally thrilled to have the opportunity. * * *

Eva began by telling us about her research in 1980 that led to the discovery of the Rosenborg recorders (two valuable 17th-century narwhal Class Descriptions tusk recorders) in Rosenborg Castle, Copenhagen. Together with Frans Brüggen, she made public the first copies of these instruments. She brought with her to show us a wooden copy of the ivory originals made by the late Advanced Beginner/ Lower Fred Morgan; this is a transitional soprano with such a sweet voice under Intermediate Ensemble (SATB) Eva's fingers. She also showed us a tiny bird-flageolet recorder that Fred Comfortable with all common Morgan had made for her out of a scrap of narwhal tusk. The tusk was given fingerings and rhythms to her by an Eskimo, and two recorders were made from it in addition to the bird-whistle, which was copied from an original made around 1700, with Intermediate Ensemble two holes on the back and four in front. The narwhal has a single tusk, like (SATBGB) the mythical unicorn that symbolizes the immaculate conception of the Playing both F and C Virgin Mary as seen in medieval tapestries. instruments, counting halves, reading from parts Eva's prepared remarks were on the topic of the relation between rhythm and emotion in music. Baroque composers used different rhythms to Bass Class express different emotions, a Both F and C basses welcome. concept that Eva illustrated Any player interested in using several four-part pieces learning more about bass by J.S. Bach. Vicki Boeckman, technique may join at any time. Mike Woolf, and Silke Harper assisted – with Vicki pointing out that they were all sight- People who are interested reading and had not rehearsed should contact Laura by email at the music that Eva had brought. [email protected] Eva used examples in the or by calling (206) 619-0671. English language of “Shut up!” and “Hello,” – two-syllable 2

Meeting Notes: March 7, 2014 (continued) SRS Board Members (2013/2014) Music Director: Peter Seibert phrases which are spoken with (206-329-2774) [email protected] contrasting affect, the one chopped and angry, the other Officers: smooth and welcoming. “Somber” was often expressed President: Ellis Hillinger (206-547-0718) [email protected] using notes that change one step at a time, illustrated by the President-Elect: Kathleen Arends lovely Bach chorale, “Haupt voll (425-649-9869) [email protected] blut.” A short-long pattern is violent and aggressive; we Past President: Katie Sprugel heard this in “Duch Adams [email protected] Fall.” Eva translated the words, which told of Adam's interactions with the serpent that brought upon him Secretary: Molly Warner God's wrath. The long-short pattern is for love and sweetness, and for (206-523-5192) [email protected] royalty, as in “Halleluia.” “Liebster Jesu” illustrated how the rhythm can create some peace; Bach used this tune by someone else in the Anna Treasurer: Richard Ginnis Magdalena Bach notebook. Long-short-short is another sweet pattern, as we (206-633-1969) heard in “Bist du bei mir” and in “Sheep may safely graze.” This second piece [email protected] is not actually pastoral, but is used to illustrate that where kings rule well you can sense harmony (although the piece actually goes to minor). Eva said * * * * that her favorite pattern is with strong, fast steps, very hasty and scurrying. Membership: Jill Shupe The group sight-read “Wir eilen mit schwachen,” but fell apart, laughing, and (206-364-7509) [email protected] that was the end of the lecture. Newsletter: Karen Berliner (206-550-3384) We divided into groups for playing, and as the Backroom Gang [email protected] trooped off to work with Sally Mitchell, Eva gave us one more tidbit. Years ago at Port Townsend she had showed us some exercises to warm up the Refreshments: Evelyn Lester hands prior to playing, and I asked if she would show us again. “I always (206-726-9257) warm up first,” she said, “just like the runners and other athletes.” One starts by massaging between the fingers. Next step is to spread pairs of adjacent Viol Representative: Ellen Seibert fingers apart, which you can do on your thighs or by pressing with the other (206-329-2774) [email protected] hand; it stretches the inner sides of the fingers. Then stretch the fingers Webmaster: Charles Coldwell back, one at a time, and massage the top of each finger. Next, stretch the (206-328-8238) wrist by bending the thumb and fingers towards the inner arm. Shake your [email protected] hands out, and slap your hands against one another. It feels terrific! Many thanks to Eva for so many things – for the lecture, the warm-up exercises, Ex-Officio Member: and for introducing Vicki to Seattle! Vicki Boeckman (206-985-9916) [email protected] The Backroom Gang, 13 strong, warmed up with two German drinking songs, then spent most of the session working on polishing the Members-At-Large: Guerrero Magnificat. Hanan Bell (206-695-2276) [email protected]

The big group under Vicki Boeckman's direction warmed up with Betty Swift (206-323-3879) “Gaudato Omnes” by Sweelinck (1562-1621), one of his sacred songs written [email protected] in 1619. It was transposed down a fourth for recorders. We worked on playing to the words. “We need a lot more joy, everyone!” Vicki urged. “This Carolyn Wallace (206-782-6898) is all about rejoicing!” This was quite a lovely piece, a good one to get us all [email protected] going. Next we worked on a “Festlich Sonata” by Vincenzo Albric, ca. 1600, full of heraldic themes and transcribed by Phil Neuman for recorders. “We “Recorder Notes” is published monthly, don't know what celebration this was written for,” Vicki explained. Albric October through May, for its members worked in Rome, Stockholm, London, Dresden, and Prague as organist and by the Seattle Recorder Society. th cappelmeister. Finally we read through a Telemann sonata originally written 4554 - 4 Ave NE, Seattle, WA 98105. $35 Annual Membership Dues. for two flutes, two oboes, and two violins – a lovely piece. Thank you so www.seattle-recorder.org much, Vicki, Sally, and Eva for a wonderful evening!

Concerts and Events Calendar

Fri., Apr. 4 @ 7:30 pm: Seattle Recorder Society Meeting @ Maple Leaf Lutheran Church, Seattle. Sat., Apr. 5 @ 7:30 pm and Sun., Apr. 6 @ 3 pm: Gallery Concerts presents: “Haydn Surprise, and Mozart A and Beethoven, Too!” The Seattle Pocket Orchestra (Debut!) with Tamara Friedman, fortepiano soloist. Queen Anne Christian Church, 1316 – 3rd Ave. W., Seattle. www.galleryconcerts.org P Sat., Apr. 5 @ 8 pm: Byrd Ensemble with Seattle Baroque Orchestra presents: “The German-English Heritage.” St. Mark’s Cathedral, Seattle. www.byrdsensemble.com R Sun., Apr. 6 @ 3 pm: Byrd Ensemble with Seattle Baroque Orchestra presents: “The German-English Heritage.” Trinity Parish Church. www.byrdsensemble.com I Thurs., Apr. 10 @ 8 pm: Pacific Musicworks presents: “The Vocal Concerto.” Harry van der Kamp, Monica Huggett, Stephen Stubbs, and others. Rarely heard masterpieces from 17th-century . First Baptist L Church, 1111 Harvard Ave., Seattle. www.pacificmusicworks.org Sat., Apr. 12 @ 9:30 am: Moss Bay Recorder Society 2014 Meet. Come for one or all three sessions. - Instructors: Larry Stark, Jamia Hansen-Murray, and Sally Mitchell. Kirkland Congregational Church, 106 Fifth Ave., Kirkland. For more details, see www.mossbayrecorder.org or contact Sally Mitchell at 2 206-328-3381 or [email protected]. Sat., Apr. 12 @ 8 pm: Ensemble Caprice presents: “Salsa Baroque.” Under the artistic direction of Matthias 0 Maute and Sophie Larivière, the renowned Canadian ensemble returns with its own take on the Euro-New World connection. TH. www.ensemblecaprice.com and EMG. Note: Discounted tickets @$25 are available to 1 SRS members that do not already have tickets. To obtain these tickets, please call EMG at 206-325-7066 and pay with a credit card over the telephone. 4 Sun., Apr. 13 @ 3 pm: New Baroque Orchestra. Linda Melsted, conductor. Music of Vivaldi, Telemann, and Rebel. Miguel Rode, baroque flute soloist. TP. EMG Sat., Apr. 26 @ 8 pm: Seattle Baroque Orchestra presents: “Delirio Amoroso – Handel’s Italian Years.” Alexander Weimann, guest conductor. Music of Stradella, Corelli, Gasparini, Perti, and Handel himself. TH. EMG • Mon., Apr. 28 @ 7:30 pm: Salish Sea Early Music Festival. Trio and solo sonatas and solo harpsichord music. Elisabeth Wright, harpsichord; Susie Napper, viola da gamba; and Jeffrey Cohan, baroque flute. • Christ Episcopal Church, 4548 Brooklyn Ave. NE, Seattle. www.salishseafestival.org

M A Fri., May 2 @ 7:30 pm: Seattle Recorder Society Meeting @ Maple Leaf Lutheran Church, Seattle. Y Sat., May 3 @ 7:30 pm: Baroque Northwest presents: “Good Day Sun King: Baroque Music from New Orleans and New .” TPC. www.baroquenorthwest.com - Tues., May 6 @ 7:30 pm: Queen City Musicians presents: “An Evening at Hotel de Guise.” Music of Charpentier, Couperin, de la Guerre, and Balbastre. TPC. www.earlymusicguild.org 2 Sat., May 10 @ 7:30 pm: Tudor Choir presents: “I will lift up mine eyes: Psalms, Hymns, and Spiritual Songs.” Music of John Rutter and others. Blessed Sacrament Church, 5041 9th Ave. NE, Seattle. 0 www.tudorchoir.org Fri., May 16 and Sat., May 17 @ 7:30 pm: Pacific MusicWorks presents: “Handel’s Semele.” Co-presented 1 with UW School of Music. Location TBD. www.pacificmusicworks.org. Sat., May 17 @ 8 pm: Medieval Women’s Choir presents: “Eleanor of Aquitaine and her daughters.” Erika 4 Chang, soprano. TPC. www.medievalwomenschoir.org

• • EMG (Early Music Guild, 206-325-7066) www.earlymusicguild.org *** TPC (Trinity Parish Church, 609 8th Avenue, Seattle) • www.trinityseattle.org *** TH (Town Hall, 1119 8th Avenue, Seattle) www.townhallseattle.org *** All events are subject to change. •