The Cathedral of All Souls
9 Swan Street
Asheville, NC 28803
$35 General Admission
Myers Park Presbyterian Church
2501 Oxford Place, Charlotte, NC 28207
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$50 Premium Preferred Seating Admission
Lancaster Cultural Arts Center
307 West Gay Street
Lancaster, SC 29720
$15 General Admission
Handel Concerto Grosso, Opus 6, number 9, HWV 327
Bach Jauchzet Gott in allen Landen, BWV 51
Arwen Myers, soprano and Josh Cohen, trumpet
Corelli Concerto Grosso, Opus 6, number 8 "Christmas concerto"
Bach Concerto for 2 violins in d minor, BWV 1043
Aisslinn Nosky and Fiona Hughes, violins
Bach Akademie Charlotte Orchestra
Aisslinn Nosky, violin and leader
Josh Cohen, trumpet
Fiona Hughes, violin
Arwen Myers, soprano
Scott Allen Jarrett, host
Join us for Bach's Double Violin Concerto and Cantata 51, with virtuosic solos from Bach Akademie Charlotte musicians — violinists Aisslinn Nosky and Fiona Hughes in the concerto, and soprano Arwen Myers and Josh Cohen on natural trumpet in Cantata 51. Beyond mere interplay and imitation, these solo parts produce a new kinetic energy that might just take flight. Enjoy the musical innovations of Corelli and Handel’s “Concerto Grossos” — works whose musical innovations helped give rise to the modern orchestra. Scott Allen Jarrett hosts and Aisslinn Nosky leads the Bach Akademie Charlotte Orchestra in "First in Flight."
If you heard the Bach Akademie Charlotte Orchestra at the June Festival, then you know what kind of a brilliant trreat you are in for this time. If you missed it, now is your chance to hear a professional period orchestra playing with the highest level of musicianship and virtuosity.
The spirit of First in Flight is not just in the spirit of the music; it's also to be found in Bach Akademie Charlotte. To organize and found a fully professional period instrument ensemble comprising many of country's finest talents around the music of an 18th-century Lutheran composer is improbable at best. But the transformative capacity of Bach's music to rejoice the heart, inspire our conscience, and quicken our faith powers our conviction.
Join us as we advance the spirit of community through these inspired performances of this innovative music.
Arcangelo Corelli (1653-1713), who lived and worked in Rome for most of his life, represents both in his composition and his career the transition from vocal to instrumental music as the favored medium for compositional innovation and development. Corelli worked mostly as a violinist, and he leaves behind no vocal music whatsoever—a rarity for accomplished composers of his time.
Corelli’s concerti comprise surprising and delightful harmonic progressions woven out of varying textures, arpeggios, sudden changes of tempo, and chains of suspensions. The last movement of the eighth concerto comes closest to the textures and forms standardized by Corelli’s great contemporary, Antonio Vivaldi.
By 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.
Handel’s opus 6 seems to have been inspired by the opus 6 concerti grossi of Arcangelo Corelli, published in 1714. Both sets contain twelve concertos, and Handel chose the same scoring as Corelli: a concerto group of two violins and cello (with harpsichord continuo), accompanied by a ripieno group of two more violins, viola, and full continuo complement. And while concerto no. 9 was not originally composed as such, it represents a fitting musical tribute to Corelli as well. Handel eschewed the strict alternation of tonally-static ritornello and tonally-dynamic episode codified by Antonio Vivaldi, favoring instead the segmented juxtaposition of small, recognizable melodic-contrapuntal cells. Handel masterfully reorganized the organ-specific textures of the original to suit the string ensemble.
In 1729, six years into his tenure as Leipzig Thomaskantor, Johann Sebastian Bach (1685-1750) was appointed director of the city’s collegium musicum. Founded by the esteemed Georg Philipp Telemann in 1702, the collegium musicum performed weekly concerts in such venues as Zimmermann’s coffee house and other public spaces in the city. Bach was busy with his duties as Thomaskantor, but his relationship with the Town Council was severely strained over petty disagreements. Bach had given up weekly cantata composition in 1725, and he no doubt saw the collegium as an opportunity to exercise his creative powers free of the challenges he was facing with his employers. While we do not know what, exactly, the collegium performed and on which occasion, several instrumental works, including the Concerto for two violins BWV 1043, survive in manuscripts from around this time. Thus, this concerto was likely composed for collegium concerts in 1730–31.
The conceit of this concerto resembles an elaborate game of follow the leader. Each movement involves the presentation of a theme in one of the violins followed—sometimes shortly thereafter, sometimes after several bars of rest—by the other with the same music.
Bach prepared the virtuosic soprano cantata Jauchzet Gott in allen Landen BWV 51 for the fifteenth Sunday after Trinity in the late 1730s (1739?), but its many exceptional features suggest that it may have had its origin in a festive secular occasion; that movements 1-3 appear very cleanly in Bach’s manuscript, with few signs of compositional adjustment, suggest that they were lifted from a now-lost other work. Bach originally indicated that the cantata was written to be used “in ogni tempo,” indicating that its generic text of adoration and praise would be suitable for most Sundays. In addition, the unique scoring (single trumpet with strings and continuo), the form of the opening movement, and the exceptional virtuosity and range of the soprano and trumpet all set it apart from Bach’s typical church cantatas, even those written for solo voice.
The penultimate chorale movement features an exceptional presentation: the soprano sings the chorale unadorned in long note, while the two violins present a contrapuntal duet around it (with continuo accompaniment). A joyful fugue on “Alleluia” concludes the cantata.
Violin and Leader
Aisslinn Nosky was appointed Concertmaster of the Handel and Haydn Society in 2011. With a reputation for being one of the most dynamic and versatile violinists of her generation, Aisslinn is in great demand internationally as a director, soloist, and concertmaster. From 2016 to 2019, Aisslinn served as Principal Guest Conductor of the Niagara Symphony Orchestra. She is currently Guest Artist in Residence with the Manitoba Chamber Orchestra and an artistic advisor for the Portland Baroque Orchestra. Aisslinn is also a member of I FURIOSI Baroque Ensemble. For twenty years, this innovative Canadian ensemble presented its own edgy and inventive concert series in Toronto and toured Europe and North America, turning new audiences on to Baroque music. With the Eybler Quartet, Aisslinn explores repertoire from the first century of the string quartet literature on period instruments. From 2005 through 2016, Aisslinn was a member of Tafelmusik Baroque Orchestra. An avid educator, she serves on the faculty of EQ: Evolution of the String Quartet, at the Banff Centre for Arts and Creativity.
A native of Washington DC, baroque trumpeter Josh Cohen is greatly sought after by leading early music ensembles throughout North America. For the past 14 seasons, he has been principal baroque trumpet with the Washington Bach Consort and the National Cathedral Baroque orchestra. He has performed as principal and solo baroque trumpet for ensembles such as Studio de Musique Ancienne de Montreal, Arion (Montreal), Aston Magna (Boston), Houston Bach Society, Ensemble Telemann (Montreal), and participated in festivals such as the International Festival of Baroque Music at Lameque (New Brunswick, Canada) and the Bach Festival of Montreal. Josh recently recorded J.S. Bach’s Brandenburg Concerto no. 2 with Montreal-based Ensemble Caprice. Two recordings with prominent Canadian ensembles were both nominated for the 2009 Juno Awards: “Let the Bright Seraphim” with soprano Karina Gauvin and Tempo Rubato, and his recording of Vivaldi’s Gloria with Ensemble Caprice, the latter of which won the Juno award for Best Album of the Year in the vocal category. Josh received his M.M. from McGill University and a B.M. from the New England Conservatory of Music. His baroque trumpet was made by Matt Martin of Norwich Natural Trumpets, after an original by Kodisch, 1710.
Praised for her “crystalline tone and delicate passagework” (San Francisco Chronicle), soprano Arwen Myers is known as a captivating and sensitive interpreter of repertoire spanning from early to new music. A versatile artist known for her flexibility and mastery of a wide range of vocal colors and styles, Arwen has performed major works with Portland Baroque Orchestra, Early Music Vancouver, Pacific MusicWorks, and Indianapolis Symphony Orchestra. Recent highlights include Handel with Philharmonia Baroque Orchestra & Oregon Bach Festival; Bach and Purcell with Portland Baroque Orchestra; Vivaldi, Monteverdi and Gabrieli with Early Music Vancouver; Fauré with Indianapolis Symphony Orchestra; Handel Semele (title role) with American Bach Soloists Academy; and featured soloist on Chor Leoni’s JUNO-nominated album When There is Peace, a world premiere by Zachary Wadsworth. Arwen has been featured with some of the nation’s premiere chamber ensembles, including Seraphic Fire, Bach Akademie Charlotte, and Bach Collegium San Diego, and she is a core member of Fear No Music, the acclaimed Portland-based new music ensemble. A native of Augusta, GA, Arwen holds degrees from the Indiana University Jacobs School of Music and currently lives in Portland, OR.
Fiona Hughes holds degrees from Oberlin Conservatory and Cleveland Institute of Music. She is a versatile performer of both modern and baroque violin, appearing with Apollo’s Fire, Washington Bach Consort, Bach Akademie Charlotte, Boston Baroque, and the Richmond Symphony. Fiona has performed in numerous music festivals, including Kinhaven, Encore, Brevard Music Center, National Repertory Orchestra, Banff (Canada), Staunton Music Festival, and Pacific Music Festival (Japan). With Boston’s GRAMMY-winning Handel + Haydn Society she has recorded 10 CDs for release on the Coro label and worked with conductors Harry Christophers, Masaaki Suzuki, Richard Egarr, Jonathan Cohen, and Scott Allen Jarrett. She looks to Stephen Rose, Adam DeGraff, and Marilyn McDonald as mentors. Fiona’s period bows are by David Hawthorne and Richard Riggall. Her primary violin is the ex-Vieuxtemps Claude Pierray (1720 Paris).
Jeanne Johnson’s music can be heard around the world, from Brazil to Indonesia, Sweden to Turkey. She has been concertmaster for the Washington Bach Consort and Atlanta Baroque Orchestra, and has performed, toured and recorded with numerous groups including Philharmonia Baroque Orchestra, Tafelmusik, Portland Baroque Orchestra, Chatham Baroque, Asheville Baroque (including a concert at the Viola da Gamba Society 2018 Conclave), Bach Akademie Charlotte Festival, North Carolina Baroque Orchestra, Nashville Chamber Orchestra, Atlanta Symphony, Opera and Ballet, Charleston Symphony and Chattanooga Symphony. A winner of an Early Music America Professional Development Award in 2002, Jeanne gave a recital at the Yale University Collection of Musical Instruments in 2005, and has been featured on several radio broadcasts including Harmonia, Performance Today, and WNYC. Performances by her Baroque trio Music of the Spheres include The Frick Collection, the Tage Alter Musik Festival in Germany, the Berkeley Early Music Festival mainstage, and the San Francisco Early Music Society. In 2016, Centaur Records released Jeanne’s recordings of violin works by Johann Jakob Walther and Jean-Fery Rebel with Eco dell’Anima. She has also recorded for Koch, Magnatune and the Canadian Broadcasting Company, and has served as orchestra director and violin faculty at Clayton State University.
Praised by The New York Times for her “splendid playing,” Natalie Rose Kress is a violinist based in Washington, D.C. Following three summers as a Tanglewood Fellow, she was awarded the Jules C. Reiner Violin Prize from the Tanglewood Music Center and performed with Yo-Yo Ma at the 2015 Kennedy Center Honors, honoring Seiji Ozawa. This year's highlights included winning the 2021 Mercury Chamber Orchestra Fellowship and the 2022 English Concert in America Fellowship as well as performing the World Premiere of Leonard Bernstein’s “Music for String Quartet” (written in 1936) at the Linde Center at The Tanglewood Music Center in 2021 with members of the Boston Symphony Orchestra. She performs regularly as a core member of Quartet Salonnières, Repast Baroque Ensemble, Musicivic Baroque, and as concertmaster of La Grande Bande, and and can be seen playing with groups such as The Handel and Haydn Society, the Washington Bach Consort, The English Concert, Opera Lafayette, The Mercury Chamber Orchestra, Seraphic Fire, TENET Vocal Artists, Early Music NY, Shanghai Camerata, Les Arts Florissants, and the Staunton Music Festival. She is currently a Doctorate student at the University of Maryland with a focus on Historical Performance pedagogy.
An early music specialist, Allison Monroe performs on Renaissance, Baroque, and Classical violin and viola, viols, vielle, rebec, medieval harp, and sings. Her performing credits include concerts with the Newberry Consort, the Boston Camerata, Apollo’s Fire, Atlanta Baroque Orchestra, Les Délices, Seattle Baroque Orchestra, Oregon Bach Festival’s Berwick Academy, the Washington Bach Consort, Bourbon Baroque, Alkemie, and the Brecon Baroque Festival Orchestra. She won Early Music America’s 2017 Barbara Thornton Memorial Scholarship which enabled her to study in Italy, England, and Switzerland for a few weeks. Alongside performance, Allison actively passes on her love of early music through teaching. She has directed Case Western Reserve University’s (CWRU) Collegium Musicum, comprising the Medieval and Renaissance ensembles, since 2018. Allison holds a Doctor of Musical Arts in Historical Performance Practice from CWRU, where she studied with Julie Andrijeski, Ross Duffin, and Debra Nagy, among others. She earned a Master of Music in Viola Performance from the Royal Welsh College of Music and Drama and a Bachelor of Arts in Violin Performance from the University of Maryland.
Violinist Carmen Lavada Johnson-Pajaro, a native of Alabama, is a community-based artist now living in New York City. Raised in a family of music lovers, Carmen began her musical studies with jam sessions in the living room and eventually found her way to the world of historical performance. She is currently pursuing a master’s degree in historical performance at The Juilliard School, studying with Elizabeth Blumenstock, Robert Mealy, and Cynthia Roberts. Carmen recently had the opportunity to perform Haydn quartets on original instruments at The Smithsonian and Library of Congress. Her season includes performances with Juilliard415, Twelfth Night, Bach Akademie Charlotte, Teatro Nuovo, TENET, and Washington Bach Consort. Beyond performing, Carmen’s commitment to community engagement and education has led to work in schools, shelters, and detention centers across the world. Carmen holds degrees in violin performance from the New England Conservatory and the Eastman School of Music, where she was a Lois Rogers and Links Scholar.
Freelance musician Allison Willet followed in the footsteps of her grandmother, who was also a violinist. She began playing the violin at age 6, but was eager to learn many more instruments including the clarinet and piano. Allison graduated summa cum laude from Appalachian State University in 2006 with a degree in violin performance. She completed a master’s degree in 2008 in violin performance at the graduate school of the University of North Carolina at Greensboro. In addition to modern and baroque violin, treble, tenor, and bass viola da gamba, Allison performs on viola d’amore, a rare 14-stringed instrument. Allison is a founding member of the North Carolina Baroque Orchestra and Raleigh Camerata. She performs frequently with the Atlanta Baroque Orchestra and Mallarme. Allison has appeared as a soloist with the North Carolina Baroque Orchestra, the Winston-Salem Symphony, the Salisbury Symphony, and NC Theatre. She maintains a private studio from her home in Wake Forest, NC, teaching violin, piano, and yoga.
Baroque violinist David Wilson is a founding member of Archetti, the Galax Quartet, and other ensembles. He has taught baroque violin at Indiana University, where he earned his DM in Early Music. He also holds degrees in violin from Bowling Green State University in Ohio and The Catholic University of America in Washington, D.C. David teaches violin and chamber music and directs the orchestra at the San Francisco Early Music Society’s annual Baroque Workshop. In the last ten years, he has performed and recorded classical music of India and the Ottoman Empire with Lux Musica (East Meets West Music and Golden Horn Records), contemporary music with the Galax Quartet (Innova Recordings and Music & Arts), and 18th century concerti with Archetti (Centaur Records). He is the author of "Georg Muffat on Performance Practice," published by Indiana University Press, and of the article on Georg Muffat in "The Cambridge Encyclopedia of Historical Performance in Music."
Maureen Murchie performs on modern and baroque violin and viola across the US as well as in China, Japan, and Europe. In addition to her work as acting concertmaster of the Bismarck-Mandan Symphony Orchestra and principal viola of Bach Akademie Charlotte, recent performing engagements include Handel and Haydn Society, Trinity Baroque Orchestra, NOVUS NY, Helicon, American Classical Orchestra, New York Baroque Incorporated, The Sebastians, Norfolk Chamber Music Festival, and the Broadway pits of Tootsie and Farinelli and the King. In December 2021 she performed the viola solo in Mozart’s Sinfonia Concertante with violinist Aisslinn Nosky and the American Classical Orchestra at Lincoln Center’s Alice Tully Hall. Maureen holds a doctorate from the University of Illinois at Urbana-Champaign, where she wrote a dissertation on the history of the Sendai Philharmonic Orchestra. Having grown up in Japan and attended Japanese schools through high school, Maureen is fluent in Japanese and in demand as a Japanese translator, interpreter, and editor. She is the Marketing Operations Manager at BIA, a Manhattan-based eDiscovery and digital forensics firm. maureenmurchie.com
Renée Hemsing, a native of New Mexico, specializes in chamber music and early music performance on violin and viola. In addition to recent performances with such ensembles as the Handel and Haydn Society, Connecticut Early Music Festival, Seraphic Fire, she is the violist of Beacon String Trio with violinist Susanna Ogata and cellist Guy Fishman. She earned her doctorate at the University of Colorado where her string quartet, Ajax Quartet, was Quartet-in-Residence for two years with mentorship by the Takacs Quartet. She earned her masters at the University of North Texas with Emanuel Borok, where she also studied baroque violin with Cynthia Roberts, and her bachelors from the University of New Mexico with renowned Brazilian soloist Cármelo de los Santos. In addition to her primary instructors, Renée’s mentors include Brandon Chui, Paul Kantor, Charles Wetherbee, and David Halen. Renée has been presented in master classes with the Takacs Quartet, Pacifica Quartet, Jupiter Quartet, Escher Quartet, American Quartet, Augustine Hadelich, Don Weilerstein, Sylvia Rosenberg, Vadim Gluzman, Matt Albert, Stephen Rose, and Peter Otto.
Marta Soderberg Howard, violist, performs in groups throughout the Washington, DC area and the Carolinas, from the Folger Consort and the Manassas Ballet to Three Notch’d Road and the Residents’ Own Baroque Orchestra, in venues ranging from Washington National Cathedral and Signature Theatre to assisted living facilities around Northern Virginia. She is the viola soloist with Wyoming Baroque, which premieres modern works for baroque instruments, and Assisi Performing Arts, a modern chamber music festival held each summer in the historic Umbrian hill town. Marta is also a long time performer with The Washington Bach Consort and The North Carolina Baroque Orchestra. A native of Duluth Minnesota, she is a graduate of the Interlochen Arts Academy, the University of Wisconsin, the Manhattan School of Music, and the University of lowa. Her many years’ teaching experience on the faculties of the Preucil School in Iowa City, the Cleveland Institute of Music/Case Western Reserve University, Georgetown University, and presently at Sheridan College in Wyoming have aided new generations of string players in the pursuit of self expression and camaraderie through music. Marta plays a Jason Viseltear copy of a c.1650 Giacomo Gennaro viola.
Guy Fishman is principal cellist of the Handel and Haydn Society. He is in demand as an early music specialist in the U.S. and Europe. Guy has performed with Seraphic Fire, Arcadia Players, Connecticut Early Music Festival, Querelle des Bouffons, Les Violons du Roi, Orchestra of St. Luke's, Boston Baroque, Apollo’s Fire, Emmanuel Music, the Boston Museum Trio, Boulder Bach Festival, and El Mundo, among others. In addition to concerto appearances he has been presented in recital with Dawn Upshaw, Mark Peskanov, Eliot Fisk, Richard Eggar, Lara St. John, Gil Kalish, Kim Kashkashian, and Natalie Merchant. Guy’s playing has been praised as “plangent” by the Boston Globe, “electrifying” by the New York Times, and “beautiful....noble” by the Boston Herald, and “dazzling” by the Portland Press Herald. The Boston Musical Intelligencer related having “…heard greater depth in [Haydn concerto] than I have in quite some time.” Guy studied with David Soyer, Peter Wiley, Julia Lichten, and Laurence Lesser, with whom he completed Doctoral studies at the New England Conservatory of Music. He now serves on the faculty there. In addition, he is a Fulbright Fellow, having worked with famed Dutch cellist Anner Bylsma in Amsterdam.
Ryan Murphy received his master’s degree from the Juilliard School and bachelor’s degree from the Cleveland Institute of Music. As the result of placing second in the Sphinx Competition in 2003, Ryan made his solo debut with the Detroit Symphony, followed by an additional appearance with the Cleveland Orchestra. Ryan is an avid orchestral player and participated in the Juilliard Centennial Orchestra tour across America in 2006. He has also participated in the PMF, Tanglewood, Kent Blossom, and Round Top Festival. He is a former member of the Canton Symphony and served as the assistant principal cellist in the World Youth Orchestra for Peace, presenting concerts in Hiroshima and Nagasaki to commemorate the 70th anniversary of the atomic bombings of those two cities. Ryan’s radio appearances have include the From the Top radio show at the Kennedy Center, where he won the audience choice award and two appearances on Classic 99’s Young Heroes in Music in St. Louis. He has participated in master classes with Peter Salaff of the Cleveland Quartet, the Cavani, Miro, and Brentano Quartets, as well as master classes and coachings with Janos Starker, Norman Fischer. Ryan was fortunate enough to travel to Zimbabwe, where he worked with orphan and schoolchildren in and around the capital of Zahare, teaching music composition and related musical subjects. He has also performed many various outreach concerts across the country in such cities as St. Louis, Seattle, Austin, Cleveland, and New York.
Sue Yelanjian, contrabass, is the principal bassist for Apollo’s Fire and The Cleveland Baroque Orchestra. She has performed with many North American baroque orchestras, including Tafelmusik, the Handel and Haydn Society, Chatham Baroque, and Indy Baroque. She has toured extensively and has performed at music festivals such as Tangelwood, Ravinia, Aspen, the Drottingholm Opera Theater in Sweden, and the Klang und Raum Festival in Germany. Sue appears on numerous recordings on the Koch, Analekta, Electra, and Canadian Broadcasting Corporation labels. She attended Oberlin Conservatory and received degrees from the Cleveland Institute of Music and Boston University.
Bach Akademie Charlotte Artistic Director Scott Allen Jarrett trades his baton for the keyboard this concert. He is recognized as one of the nation’s leading teachers and interpreters of the vocal works of Johann Sebastian Bach. Building on a lifetime and career devoted to the study and performance of Bach’s music, Scott was appointed Artistic Director of the Bach Akademie of Charlotte in July of 2017, with responsibility to build an annual cantata series and summer festival of national profile and reach for the Charlotte region. A resident of Boston, Scott Allen Jarrett is the Director of Music at Boston University’s Marsh Chapel and Resident Conductor of the Handel and Haydn Society. His recitals of Debussy and Fauré with tenor Nicholas Phan and the Collaborative Arts Institute of Chicago in 016 were met with critical acclaim. He can be heard as continuo player on Seraphic Fire's recording of the Monteverdi Vespers and as pianist on their 2012 Grammy-nominated recording of the Brahms Requiem. He joined the faculty of Seraphic Fire’s Professional Choral Institute in residence in the summer of 2018 at the Aspen Music Festival and School. He is a baritone in the professional chorus of Boston's Handel and Haydn Society and may be heard in the bass section throughout the H+H season and on their recent recordings for the CORO label.