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The Church of the Epiphany Tuesday Concert Series

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The Church of the Epiphany Tuesday Concert Series THE TUESDAY CONCERT SERIES THE CHURCH OF THE EPIPHANY Since Epiphany was founded in 1842, music has played a vital at Metro Center role in the life of the parish. Today, Epiphany has three fine musical instruments which are frequently used in programs and worship. The Steinway D concert grand piano was a gift to the church in 1984, in memory of parishioner and vestry member Paul Shinkman. The 64-rank, 3,467-pipe Æolian-Skinner pipe organ was installed in 1968 and has recently been restored by the Di Gennaro-Hart Co. It was originally given in memory of Adolf Torovsky, Epiphany’s organist and choirmaster for nearly fifty years. The 3-stop chamber organ by Orglarstvo Škrabl of Slovenia was commissioned in 2014 in memory of Albert and Frances Manola. 1317 G Street NW, Washington, DC 20005 HOW YOU CAN HELP SUPPORT THE SERIES www.epiphanydc.org The Tuesday Concert Series reaches out to the entire [email protected] metropolitan Washington community. Most of today’s free-will Tel: 202-347-2635 offering goes directly to our performers but a small portion helps to defray the cost of administration, advertising and instrumental upkeep. TUESDAY CONCERT SERIES WE ASK YOU TO CONSIDER A MINIMUM OF 2016 $10 We also invite you to consider becoming a 12 APRIL 2016 PARTNER 12:10PM OF T H E TUESDAY CONCERT SERIES at a giving level comfortable for you. Please ensure that all cellular phones, pagers, and other electronic devices are turned off We invite you to consider becoming a Partner which you can before the performance begins. do at a giving level comfortable for you. For further information on how to support the series in this way, please take a Partnership brochure available at the back of the church. For further information on this or if you wish to receive an email giving details of the following week’s program, please email Rebecca Kellerman Petretta, Music Associate at [email protected]. Any other inquiries regarding the series, please contact Jeremy Filsell, Director of Music at 202- CORINA MARTI 347-2635 ext. 18 and [email protected] I dilettosi fiori PARTNERS OF THE TUESDAY CONCERTS SERIES 14thcentury Music for Clavisimbalum and Flutes Kirkland & Ellis Law Partnership Hogan Lovells US LLP Legal Solutions Alan M. King Christine Windheuser David Pozorski John Kattler David Post and Nancy Birdsall Erna and Michael Kerst Norman R. Schou & Mary S. Alexander Joyce Walker and Jon Wakelyn PROGRAM the mists of time. Various written documents (i.e. records of payments to minstrels), still surviving from the Middle Ages, testify to this having Kyrie Anonymous been the case. Moreover, they remind us how much music has gone lost for one simple reason: players usually did not write down their Ghaetta Anonymous compositions; craft of an instrumentalist was learned by example, by watching and imitating the masters, and was in turn shared in the Du’ançoliti Anonymous same way. Therefore, to find a a piece of Medieval instrumental music In perial sedendo Anonymous, after in written form (and even more so a group of pieces or a whole book Bartolino da Padova of it) is rare. We may already consider ourselves extremely lucky to possess what we do. Per non far lietto Gherardello da Firenze Sometime around the year 1400, somewhere in the Northern Italy, Saltarello Anonymous two separate anonymous hands wrote down what was to become a source of unceasing fascination for both musical scholars and Aquila altera Anonymous, after performers in the twentieth century. The first hand copied a group of Jacopo da Bologna textless, monophonic compositions of unclear origin into an otherwise Era Venus Don Paolo da Firenze typical anthology of the fourteenth-century Italian polyphonic music (this manuscript is now kept in the British Library in London under the signature Add. 29987). The second has gone even further, writing Quant je suis mis au retour Guillaume de Machaut down an entire codex of instrumental music. This one is now kept in Saltarello Anonymous the Biblioteca Comunale (signature 117) in a little North-Italian town of Faenza, and contains arrangements of the fourteenth-century Untitled piece Anonymous French and Italian sacred and secular polyphony. Existence of these Amen Anonymous manuscripts, which are among the most important sources of their kind, allows us to perceive a glimpse of the long-gone universe of the Medieval instrumental music. A musician wishing to perform this music must first face a couple of After graduating in Baroque music performance on the recorder and uncomfortable and likely unanswerable performance-practical harpsichord from the Lucerne Academy of Music, Corina questions. For instance: since nothing in the music, or in its notational Marti focused on early flutes and late medieval / early Renaissance system, seems to indicate the instrument, for which this music is repertoire, in which she gained a degree from the Schola Cantorum intended - how do we know which instrument to use? The music in Basiliensis in Basel (Switzerland) under the guidance of Pierre Hamon the London manuscript is monophonic and was notated on a single and Kathrin Bopp. Corina Marti has extensively performed, recorded stave, while the music in the Faenza codex is notated on two staves. In and taught late medieval and early Renaissance repertoires throughout both cases, the performance medium could be a solo instrument Europe and the Middle East. In 2003, she was invited to join the (monophonic or polyphonic) as well as an ensemble of instruments. faculty of the Schola Cantorum Basiliensis as a tutor for early flutes Typical of Medieval musical sources, this uncertainty might be and keyboard instruments. Her performances on these instruments frustrating for someone who is used to modern, fully annotated scores and research into their history and construction have contributed written with a specific performance medium in mind. The Medieval significantly to their revival among performers. She also enjoys later musician thinks differently. His - and perhaps also her - point of view repertoires, appearing both as soloist and together with chamber music seems to be rather different from ours. It is as if he or she was saying: formations and orchestras (including Jordi Savall's Hesperion XXI and "it does not matter on what instrument you play this music as long as La Capella Reial de Cataluña) performing Renaissance, Baroque and the sounding result is sweet to my ears". contemporary repertoire. With ensemble La Morra, of which she is co- director, Corina Marti has recorded several CDs of fifteenth- and early sixteenth-century music which have been enthusiastically received FORTHCOMING CONCERTS IN THE (including the complete works of Johannes Ciconia: Diapason d'Or). TUESDAY CONCERT SERIES Her continuing interest in the earliest of instrumental music has resulted in a CD release devoted to German repertoire of the late 19 April at 12:10PM fifteenth- and early sixteenth-century (Von edler Art, Ramée, 2008, together with lutenist Michal Gondko). Her discography of post-1500 Martin Labazevitch, piano music includes recordings devoted to early Baroque instrumental A performance of Modest Mussorgsky’s monumental repertoire from Lombardy, music by the Italian-Jewish composer Pictures at an Exhibiton (1874) Salomone Rossi (1570 – c. 1630), flute sonatas by Johann Sebastian Bach and – most recently – flute concertos by Francesco Mancini. 26 April at 12:10PM Beau Soir Ensemble I DILETTOSI FIORI Jennifer Ries, viola Carrie Rose, flutes Michelle Myers Io son uno, che per le frasche andando Lundy, harp va pur cercando i dilettosi fiori. 3 May at 12:10PM I am the one who, walking in greenery, Washington Bach Consort seeks delightful flowers. (Jacopo da Bologna) J. Reilly Lewis, director Today there exist only a handful of pieces in written form that bear Cantata Bringet dem Herrn Ehre seines Namens, BWV 148 witness to the Medieval practices of instrumental performance. Toccata and Fugue in F Major, BWV 540 Undoubtedly, this is why they are cherished and performed over and Todd Fickley, organ over again. It would be safe to say that the repertoire we still have is only a tip of an iceberg, the remainder of which disappeared forever in .
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