The CCP proudly presents music of the 17th and 18th centuries, with music of three historically excluded women composers.
Baroque, which comes from the Portuguese word for misshapen pearl, barroco, was first used as a derogatory term by 19th century critics who found Baroque art to be old fashioned.
Today, we joyfully celebrate the music of the baroque, and ask the question: where did women composers fit into the Baroque era? Were women composers the actual Misshapen Pearls?
Please note: this program is only being performed ON DEMAND online. For tickets, click here.
Elisabeth Jacquet de la Guerre (1665-1729): G minor trio sonata, arr. For two violas d’amore, gamba and archlute
Isabella Leonarda (1620-1704): Sonata duodecima, arr. For viola d’amore, gamba and archlute
Lucrezia Orsina Vizzana (1623) : Domine, arr. For 2 violas d’amore, gamba and archlute
Georg Phillip Telemann (1681-1767): Fantasia No. 7 in E-Flat Major for Solo Viola, TWV 40:20
Heinrich Biber (1644-1704): Partita IV from the Harmonia Artificiosa, for scordatura violin, scordatura viola, gamba and archlute
Dan Urbanowicz, baroque violin and viola d’amore
Barbara Hamilton, baroque viola and viola d’amore
Sarah Biber, viola da gamba
Peter Schimpf, archlute